Edvard Munch Portraits @ the National Portrait Gallery

Munch at the British Museum 2019

Six years ago the British Museum held a big exhibition of Edvard Munch’s prints, including the famous Scream. In my review of the exhibition I summarised the exhibition’s narrative of how Munch (1863 to 1944), when a youngish man, in the 1890s, was part of a hard-drinking, permissive Bohemian set in the capital of his native Norway, Oslo (then called Kristiana), and how the hedonistic free-love and hard drinking ethos of this world clashed with his strict Protestant rural upbringing to produce an often unbearable tension and angst in the young man. Not just unhappiness – intense mental distress. The British Museum show had numerous quotes from Munch’s journals and diary up on the walls all making the same point:

For as long as I can remember I have suffered from a deep feeling of anxiety which I have tried to express in my art. (1908)

I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted – and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there, trembling with anxiety – and I sensed an infinite scream passing through nature. (22 January 1892)

All art, like music, must be created with one’s lifeblood – Art is one’s lifeblood. (1890)

You get the picture, and a feel for the troubled mentality which produced not only The Scream but a host of other deeply haunting woodcuts – of vampire-like young women, of traumatised couples standing in front of lakes of bottomless meaning and forests of endless threat.

However, alongside the woodcuts and paintings with titles like Despair, Anxiety, Death, and so on, Munch throughout his life was an accomplished painter of portraits, of his family, his Bohemian friends, of society patrons, and of himself. In fact he produced hundreds of them.

Munch at the National Portrait Gallery 2025

This fine exhibition at the National Portrait Gallery brings together 40 of Munch’s portraits, ranging across 40 years of his long career, from the 1880s to the 1920s, for us to enjoy, savour, compare and contrast. It is the first such exhibition to focus on Munch’s portraits ever held in the UK and includes foreign loans never before seen in the UK.

A mixed bag

The main point to make at the start is the great variety of size and treatment over these 40 or so years – and the very variable quality. Munch’s star is obviously in the ascendant and the curators, and many of the media reviewers, make a big case for him being one of the twentieth century’s great portraitists. I just don’t think that’s true. It’s nearly true, there are a lot of good portraits here, including some portraits of writers which have long been classic – but there are a lot of poor paintings here as well; ones I thought were poorly executed, showed bad draughtsmanship, sketchy painting technique.

There are quite a few powerful, notable works, but just as many that I’d cross the road to avoid or wouldn’t look twice at in a general exhibition.

Stories

One other point. The gallery labels accompanying the portraits are excellent and full of interest. Very often exhibition labels fall back on woke clichés or very general descriptions of what you can already see for yourself, and can be exasperating or futile, accordingly.

However the picture captions here are uniformly excellent. Almost all of them move beyond a brief background of the image to give fascinating potted biographies of the subjects, and seeing as these come from a surprisingly broad range of figures, in Norway but also Germany where Munch spent a lot of time, all these potted biographies build up into a fascinating mosaic of the times. They range all the way from the biography of Munch’s father and sisters, via the various writers, artists and poets he knew in his merry Bohemian times, through to fascinating accounts of the physicians, industrialists and patrons he painted, and their lives and fates after he painted them.

Putting to one side the questionable merit of some of the paintings, these potted biographies bring to life a whole world of culture and patronage in north-central Europe which we in Britain, in thrall to a very Paris-based view of modern art, are almost completely ignorant of.

Layout

The exhibition is arranged thematically and chronologically, taking visitors on a four-part journey through Munch’s immediate family, bohemian artists and writers, his patrons and collectors, and finally his closest confidants, the so-called ‘Guardians’ who supported him in his later years. I’ll pick a key work from each section.

1. Family

The earliest paintings, from his early 20s, are small oil paintings of himself, his father and the aunt (Karen Bjølstad) who moved in after his mother died of tuberculosis when he was five (in 1868). I really liked the small portrait of his bearded father – Dr Christian Munch, a military doctor – lighting his pipe. They’re small, dark and inside and hark back to naturalist painting of the 1860s and 70s which he would swiftly work through and move beyond.

Quite quickly we move outside, though, to a much larger work like ‘Evening’ (1888). This, the caption tells us, depicts Munch’s sister, Laura, on a family holiday, just a year before she was permanently hospitalized with schizophrenia. The curators claim it captures her sense of alienation from her surroundings. Do you agree? Apparently in the centre of the painting was a standing figure but Munch painted over it in order to emphasise and increase the sense of distance between the soulful woman and the figures by the lake.

Evening by Edvard Munch (1888) © Museo Nacional Thyssen-Bornemisza

2. Bohemian friends

Munch left his family home to study art formally in the mid-1880s, becoming part of the bohemian scene in Kristiania. This was a network of internationally-connected artists and writers whose their ideals ran contrary to the strict religious principles of Munch’s upbringing. They advocated free love, atheism and women’s emancipation.

It was here that he developed a free-er more expressive way with paint which he called ‘soul art’, and which relied on the intensity of the relationship with the sitter as much as technical proficiency. In other words, his brushwork became looser. Leader of this set of freethinkers was the anarchist Hans Jæger whose portrait dominates this section and was chosen by the curators to promote the entire show. They comment on the cynical, confident pose of a man who knows he bosses his social group, comfortably slouched on a sofa in the Grand Café, Kristiana.

Hans Jaeger by Edvard Munch (1889) © Nasjonalmuseet for kunst, arkitektur og design, The Fine Art Collections. Photo: Nasjonalmuseet/Børre Høstland

Munch didn’t stay in Kristiana but travelled to Berlin where he had been invited to show. Here he met the Polish writer and dramatist Stanisław Przybyszewski whose 1894 monograph ‘Das Werk des Edvard Munch’ was the first publication to promote Munch internationally and to suggest the idea of the ‘Naked Soul’ as being fundamental to his work. Przybyszewski believed that society placed such a constraint on basic human instincts that it was the artist’s duty to compensate by giving free rein to unconscious impulses and desires – what he termed ‘the naked soul’.

The other strong work in this section is the portrait of lawyer Thor Lütken. Do you notice anything odd about this picture?

Thor Lütken by Edvard Munch (1892) Private Collection. Photo: Munchmuseet / Sidsel de Jong

The oddity is that, on close inspection, the lawyer’s left sleeve, along the bottom of the picture, contains a moonlit landscape inhabited by two mysterious figures, a man in black and a woman in white.

Detail of Thor Lütken by Edvard Munch (1892) Private Collection. Photo: Munchmuseet / Sidsel de Jong

Are they lovers or a symbolic portrayal of life and death, Death and The Maiden? Whatever the intention, it’s a pretty unconventional thing to do in a professional portrait but indicates the tremendous influence the 1890s movement of Symbolism had on Munch’s thinking.

Talking of Symbolism, the section includes a series of works which aren’t paintings but black-and-white lithographs. These depict some super-famous figures from the time, notably the playwrights Henrik Ibsen and August Strindberg, the French Symbolist poet Stephane Mallarmé, and the composer Frederick Delius who Munch met at the health resort of Wiesbaden, alongside group sketches of north European Bohemians in a number of cafes and bars.

The point is that for some of these portraits – notable Ibsen, Mallarmé and a striking portrait of himself – created a novel approach, presenting the sitters as disembodied heads floating in space. The detached floating head was a familiar motif in Symbolist art, signifying a split between the physical and spiritual self but hadn’t been used in such intimate and realistic portraits before.

The novel format does several things. In the portrait of Ibsen it emphasises the distance between the floating head and the busy life going on outside the window; in the wonderful portrait of Mallarmé, probably the most successful likeness in the show, it focuses you on the face and eyes so you feel you are just about to hear a pearl of wisdom from the witty old gent. According to the ever-interesting picture caption, Mallarmé was fascinated by the occult, which may explain the ghost-like feel of the portrait. And he said that the image reminded him of one of the images of Jesus on a holy shroud…

And in the self portrait with skeleton, the jet black background makes Munch’s head seem as if guillotined and floating in space, as in a bizarre dream.

3. Patrons and collectors

The third section of the exhibition examines Munch’s relationship with his patrons and collectors. By the early 20th century, Munch was one of the most exhibited artists in Europe. Returning to Berlin in 1902, he won the support of a group of wealthy and influential collectors, whose patronage further elevated his profile. It’s fascinating to learn that, in the curators’ words, ‘Many had Jewish heritage and held key professional and institutional positions in German society. They all shared an enthusiasm for the philosophy of Friedrich Nietzsche and his belief in the creative power of the individual’ – indeed the influence of Nietzsche’s insistence on the Superman overthrowing all society’s traditional values and creating his own, is mentioned in the commentary of quite a few works from this period. Also, disapproving moralists nowadays frequently associate Nietzsche with the strains of thought which led to the Nazis, so it’s striking to learn that quite so many Jewish figure were attracted by his ideas.

From 1902 to his breakdown in 1908, Munch began to take commissions from the rich and successful and this marked a turning point in his portrait style. Increasingly he painted in bright and bold colours to reflect the dynamism of his sitters. The outstanding work in this section is the super-striking portrait of German physicist Felix Auerbach, commissioned in 1906.

by Edvard Munch (1906) © Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

In my opinion, you can see at least three things going on in this portrait. 1) The face and in particular the eyes address you really directly, with startling immediacy. Their clarity and figurative accuracy are comparable to the Mallarmé image’s eyes.

2) This immediacy distracts you from the fact that a lot of the secondary detail is no precise, is done using Munch’s trademark curves. Look at the hand holding the cigar: the fingers, the hand, the sleeve do not stand out with photographic realism from the background coat but instead are moulded with his trademark blurred curves. Instead of focusing on light and shadow to make the detail crisp, he prefers to go over the rounded outline of the hand again and again, in different colours, to give it an almost cartoon simplicity.

Lastly, of course 3) the bright red background. Maybe it’s an attempt at the actual wallpaper behind this rich patron when he painted him, but it feels more like an aesthetic statement. At first glance it made me think of the Fauves and Matisse who were just starting to do the same kind of thing in France but the wall caption tells me it’s a homage to Van Gogh’s use of bright and non-naturalistic colours. (n fact this painting now resides in the Van Gogh museum in Amsterdam.) It certainly feels like Munch felt free to create any kind of background he wants, and to use very strong vibrant colour in order to create an effect, in this case an extremely powerful and stirring effect.

The redness of the image reminded me of John Singer Sargent’s masterpiece, Dr Pozzi at Home (1881). Look at Sargent’s treatment of the hands, and indeed of the face. Pretty much none of the works in this exhibition demonstrate the draughtsmanship, the accuracy, or the painterly precision of Sargent.

In a very different mode, and much more reminiscent of his famous woodcut prints in its appreciation of feminine sensuality and its air of mystery, is The Brooch (1902), Munch’s lithograph of the Brixton-born violinist Eva Mudocci. As we’ve seen, Munch created a series of Symbolist ‘floating head’ portraits but almost all of them are of men. This portrait of Mudocci is a rare example of a woman depicted in this manner.

The Brooch (Eva Mudocci) by Edvard Munch (1902) © Private collection, courtesy Peder Lund

As usual the picture caption gives us a fascinating potted biography of the sitter and I couldn’t help laughing out loud when I read that ‘Eva Mudocci’ was actually born Evangeline Hope Muddock in Brixton.

These are the outstanding good works in this section, but there began to be ones I didn’t like or felt fell far short of a professional standard. There are three prints from a set of 16 commissioned by a Dr Linde of his wife and young children. These ought to be good and they’re nearly good, but when you look closely, you see that they’re not good. Look at this drawing of his four sons – all the faces are bodged and wonky. Sorry to be so literal minded, but compared to the draughtsmanship of Holbein or Sargent or Lawrence or numerous other painters, ancient and modern, Munch’s technique feels good, but not wow.

Breakdown

Ten years of heavy drinking, of numerous affairs and moving constantly from place to place took their toll and in 1908 Munch had a breakdown. He was admitted to a private nerve clinic in Copenhagen, run by Dr Daniel Jacobson and slowly, steadily made a full recovery, going on to become a virtual teetotaller.

When Jacobson requested a portrait, Munch chose to pose him in a powerful stance echoing Holbein’s iconic portraits of Henry VIII, painted in bright swirling colours as if engulfed by flames. The wall caption amusingly tells us that Jacobson hated the portrait.

Dr Daniel Jacobson by Edvard Munch (1908) © SMK, National Gallery of Denmark. SMK Photo/Jakob Skou-Hansen

This reproduction makes it look quite dark and more coherent than it is in the flesh. In the flesh it is enormous, larger than life size, and scrappy. You can clearly see the untouched canvas through the scrappy hurried brushstrokes. Now ordinarily I really like this kind of thing when it conveys a sense of dynamism, as in Degas, or experimentalism, as in Cézanne. But, sorry everyone, in Munch, for me, it just felt scrappy and half-hearted.

My opinion was exacerbated by the presence in this room of quite a few other middling to poor paintings, which had the effect of dragging the whole thing down. Take Olga and Rosa Meissner from 1908. I can see that Munch is moving into the new world of German Expressionism, in the breakthroughs of post-impressionism, anticipating the scrappy portraits of English artists like Dora Carrington or Vanessa Bell a decade later. But I don’t like it. The faces are poor and the painting style is scrappy and half-hearted.

There were quite a few paintings with this half-finished scrappy vibe in this section and even more in the fourth and final room.

4. The Guardians

Following his recovery at Dr Jacobson’s clinic, in 1909 Munch moved back home and settled permanently in Norway. In that year (1909) Norway had gained independence from its union with Sweden and Munch was hailed a national hero, having been knighted the previous year.

Munch’s recovery of his health and turning away from the ruinous ways of his Bohemian lifestyle were supported by a small group of new friends who he came to call his ‘Lifeguards’ or ‘Guardians’ – friends and supporters he found among writers, artists and patrons. These Lifeguards were so important to Munch that he refused to be parted from their portraits, which acted as talismanic substitutes for them when they weren’t around. So this last section of the exhibition brings together ten or so portraits of these people which, I’m afraid to say, I found almost uniformly ‘bad’.

In its press images the NPG supplies the two strongest pictures in the room, which are the full-length portrait of Jappe Nilssen and the one of Birgit Prestøe in ‘Seated Model on the Couch’ (1924). They do not supply any of the weaker ones, such as the double portrait of Käte and Hugo Perls, of painter Ludvig Karsten or writer Christian Gierløff.

Here’s the best image in the room, the portrait of Jappe Nilssen.

Jappe Nilssen by Edvard Munch (1909) © Munchmuseet. Photo: Munchmuseet / Juri Kobayashi

As you can see, it’s a powerful work, employing van Gogh-style slabs of primary colours to create a dynamic image – although the real source of its power is in the man’s four-square, virile pose. But it’s arguably the best image in the room, and not typical of almost all the others, which feel far weaker and less finished, in at least one case, literally so.

The only other work in the this section that I liked is a portrait of a regular sitter for Munch, Birgit Prestøe. He painted her many times between their meeting in 1924 and 1931.

Seated Model on the Couch (Birgit Prestøe) by Edvard Munch (1924) © Munchmuseet. Photo: Munchmuseet / Sidsel de Jong

I liked this image because, from a distance, it reminded me of the kind of mathematical modernism I really like – the post-cubist angularity of Futurism and Vorticism. But of course, it’s more by accident than design. When you go closer you see that not many of the lines are straight, most are in fact bent or curved or swirly, although I still like the random pools of colour, such as the dark orange on her shoulders and hip and knee.

And here are links to some of the much more characteristic, much less finished, much scrappier, and less pleasing works:

The Olsen, in my view, showcases all Munch’s weaknesses. The draughtsmanship of the face is poor, the arms are worse (at first glance, she looks like a thalydomide victim), the shadow looks like a pool of spilled dirty water.

The Christian Gierløff demonstrates the hold of what I early on came to think of as The Swirl on Munch’s technique, the way 1) the outlines of a figure’s body are echoed and repeated in multiple lines to create a kind of shadowy, faltering effect, and 2) the way the figure doesn’t stand out distinctly from the background, as people do in real life, but what background he can be bothered to paint in shapes itself around the foreground figure. This is most obvious in the rock of whatever it is behind Gierløff and on his right, whose contours entirely shape themselves around his figure, and the yellow line outlining the black which is presumably his shadow, and which curves round to a kind of golden loop on the ground at his feet, which to the schoolboy mind, suggests a puddle of urine.

Clearly Munch considers the backgrounds to his later portraits to be very secondary, to have a mostly decorative effect. Now whereas this works excellently in the striking and very finished portrait of Felix Auerbach, which is indoors, and whose backdrop hovers with pleasing ambiguity between a real wallpaper and pure abstraction – in my opinion this approach does not work when the figure is out of doors and so the background becomes more important, is necessarily more varied, we as animals want to understand the context and precise positioning of a fellow human, so I found Munch’s collapse into semi-abstract swirls and half-arsed shadows, frustrating and incomplete. They’re neither the realism of a Singer Sargent nor the purely decorative abstraction of a Matisse, but a muddy no-man’s-land in between.

Conclusion

The curators, and a surprising number of critics in the papers and magazines, try to persuade us that Munch was one of the great portrait artists of the 20th century. This excellent exhibition makes the strongest possible case for its cause, and is certainly very enjoyable for the biographical and historical facts to be found in all the picture captions – but, in my opinion, ultimately fails. Some of his paintings are excellent, the famous writer lithographs are classic – but, in my opinion, quite a few, especially of the later portraits, are badly drawn, scrappily painted, and the deployment of the swirly outlines which made his 1890s trauma works and the Symbolist portraits so powerful, has degenerated into a messy, irritating mannerism.

Here’s another work which features in the fourth room, a portrait of himself with friend, Torvald Strang.

It’s mildly interesting to learn from the wall caption that 1) the lawyer and barrister Torvald Stang had been a friend of Munch’s since the 1880s, often supporting him during difficult times. He was said to be an elegant man about town. And also to learn that 2) Munch had a strong liking for yellow and often used it as a background for his portraits.

But is this painting any good? Not really, no.

The promotional video


Related links

Related reviews

Mrs Dalloway by Virginia Woolf (1925)

Why did she suddenly feel, for no reason that she could discover, desperately unhappy?

‘Mrs Dalloway’ feels like a significantly better, fuller, more complete and significant novel than ‘Jacob’s Room’. But maybe that’s because it’s much more traditional and easier to read.

I powerfully disliked ‘Jacob’s Room’ because it felt, to me, packed with barely contained unhappiness and occasional hysteria, which I found badly triggering i.e. triggered the same feelings in me. ‘Mrs Dalloway’ contains some of the same technical tricks as Jacob, but feels much, much more contained and controlled and accessible.

Continuities between Jacob and this include:

  • it’s set in London with an obsessive attention to the precise geography of the city and the exact routes taken by the main protagonists
  • a large cast of secondary characters, often passersby or people just on the streets or parks or shops of London who the main characters momentarily notice, who pop up for a brief mention then disappear forever
  • unexpected segues or jumps between scenes which neither begin nor end in a conventional way

But what makes it significantly easier than Jacob, is 1) there are far fewer lead characters, just 4 or 5 and 2) we get to know them in much, much more detail than in Jacob. Jacob went out of its way to omit any explanation of characters’ backgrounds and relationships to each other, leaving the reader in a permanent sense of frustration and bewilderment. Its extreme fragmentation and continual hopping about from one fragmented scene to another was its main artistic aim. By contrast, in ‘Dalloway’ there’s just a handful of characters and everything about their backstories is explained at great length. We get to know and walk around the characters. In this respect it is a far more conventional, ‘ordinary’ and accessible novel than its predecessor.

Main cast

The action of the novel follows one day in the life of its characters, a Wednesday in June 1923. Each of the main characters has some business to carry out and so the novel follows them going about their tasks, lightly jumping from one to another.

1. Mrs Clarissa Dalloway

Wife of Richard Dalloway, a Conservative MP. Just entering her 52nd year. Has a daughter, Elizabeth, 17 and serious. Lives in a lovely town house in Mayfair, complete with maids etc, notably Lucy. Was raised in a country house, Bourton, in Gloucestershire. When her father, old Mr Parry, Justin Parry, died, the house went to her brother, Herbert. A neighbour sees:

A charming woman, Scrope Purvis thought her (knowing her as one does know people who live next door to one in Westminster); a touch of the bird about her, of the jay, blue-green, light, vivacious, though she was over fifty, and grown very white since her illness. (p.2)

Mrs Kilman sees:

her small pink face, her delicate body, her air of freshness and fashion

She thinks of herself as having:

a narrow pea-stick figure; a ridiculous little face, beaked like a bird’s. That she held herself well was true; and had nice hands and feet; and dressed well, considering that she spent little. But often now this body she wore (she stopped to look at a Dutch picture), this body, with all its capacities, seemed nothing — nothing at all. She had the oddest sense of being herself invisible; unseen; unknown… (p.7)

When a wave of depression flows over her at not being invited to Lady Brunton’s, she feels ‘herself suddenly shrivelled, aged, breastless’ (p.26). She is essentially talentless: she has no gift for writing or talking, can’t play the piano, doesn’t follow her husband’s political campaigns, is astonishingly ignorant (she doesn’t know what the equator is) (p.107).

She knew nothing; no language, no history; she scarcely read a book now, except memoirs in bed…

Not that she was striking; not beautiful at all; there was nothing picturesque about her; she never said anything specially clever… (p.66)

She has the frigid anti-passion of her class and gender and especially of her author (I say this having read Victoria Glendinning’s biography of Leonard Woolf which shows that theirs was a sexless marriage, probably never consummated, because Virginia became hysterical every time the subject of sex was even raised, let alone moved towards.) ‘Horrible passion! she thought. Degrading passion!’ Her main activity in life is bringing disparate people together at her parties. She really enjoys doing this and enjoys her life.

In people’s eyes, in the swing, tramp, and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June. (p.2)

How unbelievable death was! — that it must end; and no one in the whole world would know how she had loved it all!

Bravo to Woolf for not making her heroine a writer, poet, painter etc but a fairly ordinary upper-middle-class woman with few if any talents. She is therefore (in an admittedly narrow, upper class way) a sort of everywoman.

Task: Clarissa is organising things for a big party she’s hosting that evening.

2. Richard Dalloway

Clarissa’s husband is a conscientious Conservative MP, not top drawer material, never likely to make the Cabinet.

He was a thorough good sort; a bit limited; a bit thick in the head; yes; but a thorough good sort. Whatever he took up he did in the same matter-of-fact sensible way; without a touch of imagination, without a spark of brilliancy, but with the inexplicable niceness of his type. He ought to have been a country gentleman—he was wasted on politics. He was at his best out of doors, with horses and dog… (p.65)

He is invited to luncheon with Lady Bruton, along with their old friend, the pompous Hugh Whitbread.

3. Peter Walsh

Clarissa has known since a boy. He’s six months older than her. He was always unconventional, got kicked out of Oxford for being a Socialist. Back in the 1890s when they were young, he proposed to Clarissa who turned him down. Years later he returns from India (where he’s been for 5 years, 1918 to 1923) and turns up unannounced at the Dalloway house. He is back in London to organise a divorce from his wife because he has fallen in love with a major’s wife, Daisy, aged just 24 i.e. less than half his age. Foolish man.

Task: Walsh has an appointment to see the lawyers Messrs. Hooper and Grateley of Lincoln’s Inn about his divorce.

4. Septimus Warren Smith

The outsider, completely outside the network of Clarissa’s friends and family which mostly dominates the text. Septimus is aged about thirty, pale-faced, beak-nosed, wearing brown shoes and a shabby overcoat. He is a shell-shocked World War One veteran who talks to himself and threatens suicide to his terrified, long-suffering wife Lucrezia.

Task: at noon Septimus and Lucrezia have an appointment with the Harley Street nerve specialist Sir William Bradshaw.

Lucrezia Warren Smith

Long-suffering wife of Septimus. Looks after him all day and shepherds him to the Harley Street appointment, then back to their rented room.

Secondary characters

Sally Seton

Unconventional woman Clarissa fell in love with and kissed back in the 1890s (p.30). And turns up out of the blue at Clarissa’s party. And is changed utterly. Clarissa compares their youthful hijinks with the plump conventional woman she’s become.

She smoked cigars,… she ran down the passage to fetch her sponge bag, without a stitch of clothing on her, and Ellen Atkins asked, ‘What if the gentlemen had met her?’ But everybody forgave her. She stole a chicken from the larder because she was hungry in the night; she smoked cigars in her bedroom; she left a priceless book in the punt. But everybody adored her (except perhaps Papa). It was her warmth; her vitality — she would paint, she would write. Old women in the village never to this day forgot to ask after ‘your friend in the red cloak who seemed so bright.’ She accused Hugh Whitbread, of all people (and there he was, her old friend Hugh, talking to the Portuguese Ambassador), of kissing her in the smoking-room to punish her for saying that women should have votes. Vulgar men did, she said. And Clarissa remembered having to persuade her not to denounce him at family prayers — which she was capable of doing with her daring, her recklessness, her melodramatic love of being the centre of everything and creating scenes, and it was bound, Clarissa used to think, to end in some awful tragedy; her death; her martyrdom; instead of which she had married, quite unexpectedly, a bald man with a large buttonhole who owned, it was said, cotton mills at Manchester. And she had five boys! (p.161)

Aunt Helena

Old Mr Parry’s sister, so Clarissa’s aunt (p.28), now in her 80s and with one glass eye. A great traveller in India in the 1860s and a keen watercolorist of rare orchids (p.158).

Tertiary characters

Scrope Purvis – neighbour in Westminster.

Sir John Buckhurst – venerable judge, caught up in the traffic jam in Brook Street (p.13).

Dr Holmes – physician to Septimus Smith who insists there’s nothing physically wrong with him.

Large, fresh coloured, handsome, flicking his boots, looking in the glass, he brushed it all aside — headaches, sleeplessness, fears, dreams — nerve symptoms and nothing more, he said.

(Compare and contrast the physician who shows up to pronounce Leonard Bast dead at the end of E.M. Forster’s novel Howards End, and the useless doctor who misdiagnoses the daughter with terrible consequences in D.H. Lawrence’s story England, My England. Doctors generally get a bad rap in the fiction of this period.)

Mr Brewer – managing clerk at Sibleys and Arrowsmiths, auctioneers, valuers, land and estate agents, Septimus’s boss.

Lady Millicent Bruton – invites Richard Dalloway to lunch, but not Clarissa, upsetting her.

Miss Milly Brush (40) – Lady Bruton’s secretary, ‘knobbed, scraped, angular, and entirely without feminine charm’ (p.90).

Perkins – Lady Bruton’s servant (?) (p.91).

Miss Pym shop assistant at Mulberry’s the florists, hands always red (p.9).

Edgar J. Watkiss, a workman carrying a roll of lead piping round his arm (p.11).

Mrs Sarah Bletchley with her baby in her arms.

Mrs Emily Coates – passerby in Pall Mall.

Mr Bowley – appears in Jacob’s Room.

Maisie Johnson – freshly arrived from Edinburgh, encounters Septimus and Lucrezia in Regents Park.

Mrs. Dempster – worn-out old lady in Regents Park observes Maisie’s interaction with the Smiths.

The unknown young woman who Peter spots in Trafalgar Square, is suddenly infatuated with and follows north till she disappears into a house in Bloomsbury, leaving him feeling deflated.

The elderly nurse with a pram in Regent’s Park, sat knitting on the bench where Peter comes to rest and falls asleep.

Miss Isobel Pole – lectures about Shakespeare, Septimus attended and developed a crush on her, wrote her letters and poems and stalked her.

Mrs Filmer – older woman living in same boarding house as Septimus and Lucrezia.

Agnes the serving girl in the Smiths’ boarding house.

Sir William Bradshaw – Harley Street physician, calm recommender of a sense of proportion (p.87).

Lady William Bradshaw – wife, fusses about her son at Eton and her hobbies, namely:

Large dinner-parties every Thursday night to the profession; an occasional bazaar to be opened; Royalty greeted; too little time, alas, with her husband, whose work grew and grew; a boy doing well at Eton; she would have liked a daughter too; interests she had, however, in plenty; child welfare; the after-care of the epileptic, and photography… (p.80)

Doris Kilman – Kicked out of her school for her German ancestry during the war, Richard came across Miss Kilman and hired her as a history tutor for Elizabeth. Over 40, embarrassingly poor, ‘heavy, ugly, commonplace’, she had a mighty religious conversion 2 years and 3 months ago (109). Now when she comes Clarissa isn’t sure how much of their time is history and how much is religious zeal.

Rev. Edward Whittaker whose sermon converted Miss Kilman.

Mr Fletcher – retired, of the Treasury, ‘neat as a new pin’, worshipper in Westminster Abbey

Mrs Gorham – widow of the famous K.C., worshipper in Westminster Abbey

Mrs Burgess – a good sort and no chatterbox, who Peter confides in about his affair, advises that while he’s away in England, hopefully Daisy will come to her senses.

Old Joseph Breitkopf – a frequent guest at Bourton who liked singing Brahms but didn’t have any voice.

Events

‘Jacob’s Room’ was divided into 14 distinct chapters. ‘Mrs Dalloway’ doesn’t have any chapters or parts. From time to time there’s just a break in the text, which indicates a new scene or time:

10am

Mrs Dalloway is walking across Green Park towards the florists. She bumps into her old friend Hugh Whitbread. She walks along Piccadilly and into the shop window of Hatchards. She crosses into Bond Street and walks up to her florists, Mulberry’s. A car backfires in the street outside. Various passersby stop and notice. The road is blocked and we meet the shell-shocked war veteran Septimus Smith.

Ripple of excitement among passersby about who is inside the car (which has curtains over its windows), the Prime Minister, the Prince of Wales. The narrative takes us down the Mall to the crowd outside Buckingham Palace including, in Woolf’s usual manner, a clutch of casual bystanders who she bothers to name – shawled Moll Pratt with her flowers on the pavement, Mrs Emily Coates, Sarah Bletchley with babe in arms, little Mr Bowley.

All of them then witness something strange which is an airplane flying low over central London and emitting smoke as if writing letters in the air. In classic modernist confusion nobody can agree what the letters spell.

Cut to: Lucrezia sitting next to her depressed husband Septimus Smith in Regents Park. Her feelings of desperate loneliness now her husband is mad.

Maisie Johnson, a young woman freshly arrived from Edinburgh, asks them the way to Regents Park tube and thinks them a very strange couple. Mrs Dempster who has lunch in the park and feeds the squirrels observes their interaction. The plane eventually flies off, giving a few moments thought to a Mr Bentley mowing his lawn in Greenwich. A seedy-looking nondescript man carrying a leather bag hesitates at the entrance to St. Paul’s Cathedral. Woolf’s novels are packed with these inconsequential moments from random strangers’ lives. In fact she theorises it a bit, attributing this affinity with complete strangers to Clarissa:

Odd affinities she had with people she had never spoken to, some woman in the street, some man behind a counter… (p.135)

Presumably this flitting between snippets of random strangers’ lives was part of the modernism which discombobulated the book’s first readers. All I can say is I took it in my stride and enjoyed this bird’s eye overview of London and random people doing random activities. A hundred years later the technique is thoroughly assimilated.

Clarissa arrives home, discovers her husband has been invited to luncheon with Lady Millicent Bruton, and is jealous. This triggers a wave of memories, her childhood at the family home at Bourton, her wooing by Peter Walsh. But much more she remembers her close friendship with the unconventional Sally Seton which ended with the latter kissing her (p.30).

She is awoken from her revery when the doorbell rings and it’s Peter Walsh, out of the blue. They sit and reminisce. He tells her he’s come back to organise a divorce so he can marry a woman (unfortunately, herself married) Daisy.

Their conversation is just becoming personal, and Clarissa is allowing herself to feel something for this silly loveable man, when the door opens and her daughter, Elizabeth walks in. Walsh had been pacing up and down and now he simply says ‘Goodbye’ and leaves the room, and their densely emotional conversation simply ends.

Reeling, Peter walks along Victoria Street and into Whitehall where he sees a procession of Boy Scouts leaving memorials at the Cenotaph.

11.30am

He is in Trafalgar Square looking at the statues. In a peculiar passage, he sees an attractive woman crossing the road and ends up following her, trailing her, fantasising about starting a completely new life with her, across Piccadilly, up Regents Street, across Oxford Street, up Great Portland Street, and off into a side street where she goes into a house.

The fantasy bursts, and he continues up towards Regents Park, dawdles till he finds a park bench with a nurse sitting on it, knitting, sits down and slowly falls asleep. Starts snoring.

He wakes with a start and painfully remembers the stay at Bourton, in the early 1890s, when he declared his love to Clarissa and she not only rejected him but very visibly fell in love with another guest, simple dashing young Richard Dalloway.

These memories are interrupted when the little girl who’s with the nanny accidentally runs into Lucrezia as she walks miserably with her husband. This takes us into 4 or 5 pages describing Smith’s worsening mental illness, delusions of grandeur (the secrets of the universe), hearing voices, seeing his dead friend Evans in unexpected places.

Peter is now up and walk and walks past the miserable Smiths sitting on their park bench. He is reflecting on the ship journey back to England, being struck that women now openly apply face powder and lipstick, something nobody did in his day.

He remembers how much he dislikes Clarissa’s old friend Hugh Whitbread, an utterly conventional pompous ass who married the Right Honourable Evelyn someone and has a post at Court; how conventional Richard Dalloway is; his disapproval of Shakespeare’s Sonnets for being disreputable etc. How much he still likes Clarissa, her sense of life and comedy, her sense of duty, always running round helping people; how, now into his 50s, he just doesn’t need people any more.

Exiting the Park he hears and sees an ancient crone singing for money. She is a kind of pivot because we also see her through Lucrezia’s eyes and the narrative switches to describing Lucrezia’s story, how she met Septimus. He had fallen in love with the lecturer in Shakespeare, Miss Isabel Pole, working at Sibleys and Arrowsmiths, auctioneers, valuers, land and estate agents. He was one of the first to volunteer and served the full four years. He became very close to his officer, Evans, who was killed just before the Armistice. Now he hears Evans talking to him from behind trees and park benches.

The end of the war found Septimus in Milan, billetted with an innkeeper whose two daughters made hats. Lucrezia was the younger. They fell in love and married and came back to London, took rooms in Tottenham Court Road, and Septimus slowly became more (mentally) ill. He talks openly about killing himself and wonders how to do it most effectively.

Twelve noon (p.82)

The sound of Big Ben (which, I realise, tolls through the book on the hour, every hour). Septimus and Lucrezia have an appointment with Sir William Bradshaw, nerve specialist, in Harley Street. Woolf mocks Bradshaw and his pathetically inadequate advice to Septimus to cultivate a proper sense of ‘proportion’. To achieve this, Bradshaw says he’ll arrange for Septimus to be sent to a rest home, a care home (nobody uses the word asylum). Although presented sweetly, this obviously has a coercive element and leads onto a peculiar couple of pages where Woolf claims that, the (pathetically inadequate) concept of ‘proportion’ is accompanied by a ‘sister’ concept, ‘Conversion’. This is obscure but seems to refer to compulsion, to forcing his patients to acquiesce in his diagnoses, with the implication that he will be forced to go to this home (asylum). This sense of being forced against his will, plays a crucial role in the climax of Septimus’s story.

Like all contemporary physicians, Bradshaw knows nothing about the workings of the brain and central nervous system.

One thirty (p.90)

According to a clock in nearby Oxford Street where is walking Hugh Whitbread, 55, respected holder of a position at Court, ‘unbearably pompous’. He, too, has been invited to luncheon with Lady Bruton and arrives on the doorstep of her house in Brook Street at the same moment as Richard Dalloway.

She talks of this and that and mentions that Peter Walsh is back in England. But it turns out she has invited them both there simply because she needs their help writing a letter to The Times about her hobby horse, encouraging the emigration of the ‘surplus population’ to the colonies, specifically Canada. Hugh is a gluttonous creep in many respects but in this, writing formal letters in the style of the Establishment, he is outstanding and does a great job, developing and refining it at Lady Bruton’s instructions. Then lunch is over and the two men depart.

But a wind is blowing up Brook Street and for some indefinable reason they find it difficult to part and end up together going into a jewellers’s shop where Hugh buys a necklace for his wife, Evelyn. Talk of Peter Walsh has reminded him of his wooing of Clarissa and suddenly he wants to buy her a present. Lacking judgement of jewellery, in the blink of an eye he has bought some red and white roses and strides through Green Park towards their house, intending to give them to her and tell her he loves her.

Scholars think the Dalloways live in Great College Street, Westminster, though this is nowhere made explicit.

3pm (p.103)

Big Ben sounds the hour as Dalloway enters his house, surprising Clarissa. He gives her the roses but can’t quite bring himself to tell her he loves her. He quickly leaves to attend a committee, concerned with Armenian survivors of the genocide though Clarissa, characteristically, can’t remember whether it’s Armenians or Albanians.

Miss Kilman emerges from being cloistered with Elizabeth. She was hired as a history tutor for Elizabeth but during the war had a religious conversion. We get the story of her conversion. Now she and Elizabeth emerge to go shopping. There is a momentary standoff between Clarissa and Miss Kilman which Clarissa ends by laughing. They exit.

3.30pm (p.112)

Clarissa watches the old lady opposite laboriously climb her stairs and thinks that, that is life.

Meanwhile, Mrs Kilman is infuriated beyond measure by the way Mrs Dalloway laughed at her, seething with hatred for her dim, philistine privilege. She and Elizabeth go to the Army and Navy Story (to buy a petticoat) and then have tea and a chocolate eclair. Woolf gives us Miss Kilman’s thoughts which are almost as demented as Septimus’s in her seething anger at being ugly and poor and clumsy.

Miss Kilman goes into Westminster Abbey to share her misery with God and some other sniffling worshippers. Elizabeth, 17, loves being out in the busy streets and takes a bus down the Strand, across into Fleet Street and bravely ventures towards St Paul’s Cathedral, all the way thinking a confused, immature 17-year-old girl’s thoughts about what she might do when she grows up.

The passing backwards and forwards of omnibuses is a link to the Smiths, Septimus lying on the sofa in their lodgings while Lucrezia tries to fix a hat at their table, a hat for Mrs Filmers’ married daughter, Mrs Peters. For half an hour he comes out of his madness and actively helps Rezia design the little hat and she is deliriously happy but then Mrs Filmer’s grand-daughter arrives to deliver the paper, and Rezia gives her a sweet then accompanies her back to her flat, leaving Septimus by himself, and he has tremors of relapse.

When she comes back he suggests she gets out all his mad writings, the letters and poems and diagrams and drawings, and burns them all, but she wants to keep them, sorts them and ties them with string.

At this point the indefatigable Dr Holmes arrives downstairs and Rezia runs down to head him off but he insists on blundering up to see his ‘perfectly well’ patient, which triggers a panic attack. Because Septimus associates the doctors with Sr William’s air of polite coercion, of being confined to an asylum.

So as soon as hears Holmes’s voice, Septimus quickly considers various methods of suicide and, as Dr Holmes enters the room, throws himself out the window and down onto the area railings. So that he is impaled on the railings. Yuk.

What happens next is odd because instead of having hysterics, Rezia is given a sweet drink by the doctor and feels relaxed and has happy visions, presumably a powerful tranquilliser. And it isn’t made clear whether Septimus is dead or badly or lightly injured. Mystery.

The ambulance carrying Septimus whizzes past Peter Walsh out walking and he’s struck by how civilised the notion of the traffic pulling aside to let is pass is, after the chaos of the Orient (i.e. India). Peter reacts a bit deliriously, with a hint of the Woolf madness, which is disguised as his temperamental over-susceptibility.

6pm (p.137)

Peter arrives back at his hotel, a sad sterile place, his mind awash with memories of Clarissa on his many visits to Bourton. He is upset when these fantasies are punctured by a one-line note she’s had sent round which simply says ‘Heavenly to see you!’ So conventional, so middle-aged and disappointing. And he reflects on his affair with Daisy, her mad love for him, his jealousy, the whole thing utterly inappropriate and disreputable, as he gets dressed for Clarissa’s party. No wonder she married Richard.

He goes down to the hotel dining room where he is shy and sits at a table by himself. After dinner he gets into conversation with the Morris family, being old Mr Morris, young Charles Morris, Mrs Morris and Miss Elaine Morris.

Evening falls over the city. Peter realises he’ll go to the party simply because he wants a gossip and to hear the latest talk about the future of India. As night falls the streets light up and fill with lively young people. Peter prides himself at not being at the Oriental Club surrounded by harrumphing old bloaters, but sitting on a cane chair outside his hotel near the Tottenham Court Road enjoying the sense of youth and possibility.

He pays a penny for an evening paper, reads the cricket scores, then leaves it on the table and sets off walking through Bloomsbury, heading south and west to Westminster and a lovely description of people stepping out their houses and into cabs, of windows lighting up, the sound of gramophones through windows on this hot June evening, till he arrives at Clarissa’s house and braces himself.

The servants, Lucy bustling about front of house and Mrs Walker, the very harassed cook and old Mrs Barnett, Ellen Barnett, helping the grand ladies off with their cloaks. Mr Wilkins a sort of butler/announcer, hired specially for parties.

Clarissa is terrified that the party is not going well, people are not mingling, are standing around tutting about the draught (Peter desperately wishes he hadn’t come, he knows nobody). But then more guests arrive and it starts to go. Clarissa stands at the main door to the drawing room greeting them all as they’re announced by Wilkins. Lady Bruton has come and Clarissa is genuinely relieved. Then she is amazed that Sally Seton has gatecrashed, happened to be in London, heard about it etc. She is now Lady Rosseter with five strapping sons!

And then the Prime Minister, an amusingly non-descript little man. Peter Walsh, an outsider from India, is appalled at the snobbery of the English, and then amused to see pompous Hugh Whitbread dancing attendance like a toady. And then he is touched with how old but gracious Clarissa looks in her green dress, effortlessly managing her guests. And there’s pages of her dealing with each of these guests, maybe based on real people (?), certainly an interesting variety.

Coincidentally (it’s a small world; well it’s a big world actually, but fiction is a small world) Sir William Bradshaw arrives, with his wife. He’s the pompously expensive nerve doctor who was so fundamentally useless to Septimus, and who Lucrezia was so relieved to escape. Interestingly, Clarissa once went to him with a problem and had the same experience, being impressed by his tone and dignity, but everso relieved to escape back out onto the street. Lady B explains they are late because they were just leaving when someone rang up Sir William to tell him a sad case of his had just killed himself (p.162).

Aha. So Septimus succeeded in killing himself. I was wondering whether I’d have to look it up on the internet to find out what happened (as I had to Google it to find out what happened at the end of ‘Jacob’s Room’).

News of this death affects her badly and Clarissa withdraws into a little side room. She feels it has a special message, is meant as an act of defiance. (Surely in this we can hear Woolf defending madness and suicidal ideations as something more than just illness, but a rebellion, a defiance, suicide as a kind of treasure).

And Clarissa’s response is to find Sr William somehow, obscurely, evil. When she met him professionally she felt the evil of compulsion in him, forcing his patients at their most vulnerable time. It awakens in her a deep terror:

Then (she had felt it only this morning) there was the terror; the overwhelming incapacity, one’s parents giving it into one’s hands, this life, to be lived to the end, to be walked with serenely; there was in the depths of her heart an awful fear.

Because:

Somehow it was her disaster — her disgrace. It was her punishment… She felt somehow very like him — the young man who had killed himself. She felt glad that he had done it; thrown it away. (p.165)

Mad though this sounds, I know exactly what she means. It feels profoundly true.

Meanwhile Sally and Peter sit together and have a long chat about old times. He is 53, she is 55. This I found very moving because I’m about their age and at parties have sat and talked to friends I met at university when we were 20 and full of dreams and now look at each other, grey and middle-aged and worried about our children. That feeling comes over very well indeed.

And Peter confides that he never got over his love for Clarissa, the rest of his life was a throwing-himself-away. Sally sympathises and insists she comes to stay with him in her huge house in Manchester and meet her husband, a vastly wealthy mine owner who started out a working man himself and brought himself up by his shoestraps.

And they both watch young Elizabeth, looking radiant, walk over to her doting father who tells her how beautiful she is. Sally says she’s getting up to go and talk to them. And then the novel ends on a kind of bombshell, which I shall quote in its entirety. Sally leaves him and:

‘I will come,’ said Peter, but he sat on for a moment. What is this terror? what is this ecstasy? he thought to himself. What is it that fills me with extraordinary excitement?
It is Clarissa, he said.
For there she was.

Nothing will happen between them, we know too much about them to sentimentally think that. But it is like colour in the composition of a painting. It ends on a tremendous upbeat of something we have come to realise is much more potent than love or memory, something much deeper.

It really is about as beautiful and moving as a novel can possibly be.

Thoughts

1. ‘Mrs Dalloway’ is not at all the avant-garde, modernist text I’d been led to believe, but a remarkably conventional, normal novel, easy to read and understand.

2. Mrs Dalloway is a posh, upper-class wife of a Conservative MP, a classic lady who lunches, it’s not clear that she’s ever done a day’s work in her life, just orders around her servants and suppliers. As such she has 0% of my sympathy. My sympathies are always with people who work for a living and not the parasitic upper classes which throng so much classic bourgeois fiction. But not having much sympathy for her doesn’t at all prevent me from appreciating the craft and beauty of the novel.

3. As you know I had a severe abreaction to Jacob’s Room, a book which gave me a powerful sense of mental illness barely controlled. It is symptomatic of this book’s greater sense of control and order that the mental illness is still there but has been channelled into just one character, isolated and delimited, as it were. Still that figure is a major player, the opposite pole to Clarissa, Septimus Smith. Into this character Woolf was able to pour all her demons, the voices talking in her head, and the calm and practical planning how to kill yourself.

The whole world was clamouring: Kill yourself, kill yourself, for our sakes. But why should he kill himself for their sakes? Food was pleasant; the sun hot; and this killing oneself, how does one set about it, with a table knife, uglily, with floods of blood — by sucking a gaspipe? He was too weak; he could scarcely raise his hand. Besides, now that he was quite alone, condemned, deserted, as those who are about to die are alone, there was a luxury in it, an isolation full of sublimity; a freedom which the attached can never know. Holmes had won of course; the brute with the red nostrils had won. But even Holmes himself could not touch this last relic straying on the edge of the world, this outcast, who gazed back at the inhabited regions, who lay, like a drowned sailor, on the shore of the world.

A note in the Oxford University Press edition of ‘Mrs Dalloway’ tells me that Woolf suffered mental collapses in 1895, 1904 and 1913 to 1915; that she tried to kill herself in 1895 (aged 13) and again in 1913 (aged 31). In 1922 when she felt another attack coming on, she went to see a Harley Street specialist who was, predictably, useless.

So the novel dramatises her two states – being a posh sensitive woman in London, and being mentally ill unto making practical plans to commit suicide – in its two central characters. It is a bipolar book.

And the two halves are brought together in the climactic party in a very complex, moving, disturbing, but sympathetic way, as Clarissa sorts through her complex response to Lady William’s mention of Septimus’s suicide. It is really a wonderfully complex working of a stricken subject and her horrible experiences into a beautiful work of art.


Credit

‘Mrs Dalloway’ by Virginia Woolf was first published by the Hogarth Press in May 1925. References are to the 2004 Vintage paperback edition.

Related links

The Virginia Woolf Society holds a DallowayDay event on the Saturday before or after the third Wednesday in June.

Related reviews

Freud and The Problem of God by Hans Küng (1979)

Hans Küng (1928 to 2021) was a Swiss Catholic priest, theologian, and author. These are notes on his 1979 book, ‘Freud and the Problem of God.’

1. The genesis of Freud’s atheism

For the German tradition, ‘theology has been dissolved in the nitric acid of the natural sciences’, so said the philosopher Ludwig Feuerbach. Medicine and physiology were at the centre of German materialism, a movement which aimed to show that the activity of the mind was entirely the result of physiological changes in the brain.

Freud’s father, Jacob Freud, was an orthodox Jew who never converted to Christianity (unlike Marx’s father). Freud was taught Jewish doctrine by his mother and a schoolteacher. In his autobiography, Freud says that early Bible classes had ‘an enduring effect on the direction of my interest.’

Jacob and his first wife had two sons; by his third wife, Amalia, he had eight offspring! Freud was the eldest. A childhood aversion to his distant, forbidding father and the young beauty of his mother led to Freud’s recognition of the Oedipus Complex in himself.

Freud’s early religious experiences:

  1. The Catholic nanny who took Freud to Mass and explained Heaven and Hell to him. Freud used to come home and parody the arm-waving of the priests to his family’s amusement (laying the basis of his later paper Obsessive Actions and Religious Rituals)
  2. Antisemitism: from schooldays onwards Freud suffered persecution by antisemitic Catholics. A founding moment in his life was when, age 12, his father admitted to him how he had acquiesced in his hat being knocked into the mud by racist hoodlums.

When Freud entered university in 1873 there had just been a stock market crash and many in politics and the press explicitly blamed ‘the Jews’.

Freud entered university (aged 17) to study medicine with the aim of seeking answers to the riddles of life rather than merely curing people.

Student Freud fell under the influence of Ernst Brucke, head of the Institute of Physiology, a follower of Hermann von Helmholtz. Helmholtz was a genius who, aged 26, helped secure recognition for the First Law of Thermodynamics (the sum total of energy remains constant in an isolated system). Together with the law of Entropy (energy cannot be turned back into mass without some loss – the Second Law of Thermodynamics) these form the most fundamental of all laws of nature.

Helmholtz later went on to do pioneering work in eye-surgery, optics and physiology. A school grew around him committed to the positivist creed, confident that science would one day be able to explain all the activity in the universe, including all activities of the human mind, on the basis of purely physical and chemical laws.

Brucke was a founder-member of this school in Berlin. When Brucke came to Vienna to head up the Institute of Physiology, he brought this powerful materialistic ideology with him. Freud studied under Brucke for 6 years, years he later recalled as the happiest of his life.

Physicalist physiology got rid of the idealist philosophy of Nature and eliminated the vitalism of the Aristotelian and Scholastic tradition i.e. the belief that God created organisms with forms and purposes, higher goals and objectives of their own. No, said physicalist physiology: all life can be explained in terms of the purely causal, deterministic forces described by biochemistry.

Freud applied these metaphors to clinical psychological observation: he saw the psyche as a machine reacting to the increase and release of tension (the unpleasure-pleasure principle) as a result of the demands of internal instincts on the one hand and external stimuli on the other (the basic argument of An Outline of Psychoanalysis).

For Küng, Freud made the mistake of turning science – a method of investigation – into a worldview – an Idol, in the Baconian sense.

Freud set up his private practice in nervous diseases in 1886, aged 30, on Easter Sunday. His wife, Martha Bernays, came from an eminent orthodox Jewish family in Hamburg. Freud suppressed her religious practices ruthlessly (she later said nothing upset her so much in her life as Freud forbidding her to light the holy candles on the first Friday of their marriage).

They had three sons (Ernst, named after Brucke; Martin, named after Jean-Martin Charcot, the French pioneer of nervous diseases; and Oliver, named after Oliver Cromwell) and two daughters, Sophie and Anna (born in 1895).

In Küng’s opinion, Freud made two great breakthroughs:

a) A theory of the unconscious

Freud’s achievement was to differentiate between the Primary Process of the Unconscious, the vast majority of mental life – and the preconscious and conscious mind, very much the Secondary Process; and to devise a method for examining the workings of the Unconscious.

Freud’s theory that unacceptable wishes are repressed only to return as symptoms. These are expressed in free association so the patient comes to know himself to his depths. All this occurs through transference i.e. replaying the repressed feelings in the privileged arena of ‘the therapeutic alliance’.

Through transference the patient is led to a lasting restructuring of his mental processes, the abolition of morbid symptoms, and restored to the ability to love and work. Interpretation is also carried out on dreams and parapraxes.

b) A theory of libido

Freud’s theory of libido hugely widened the concept of sexuality, extending it far beyond the specifics of genital sexuality in the present, and extending it back in time to cover all of human existence from the earliest part of life i.e. the invention of the concept of childhood sexuality.

Doing this enabled explanations of almost all sexual activity, perversions, love, affection etc to be brought under the rubric of one theory, rather than simply being rejected as extrinsic to human nature, ‘degenerate’ or ‘immoral’, as previously.

The progression of Freud’s medical-scientific investigations can be summarised: cerebral physiology > psychopathology > depth psychology > theory of everything.

2. Freud on the origin and nature of religion

Freud’s critique of religion is twofold:

  1. he tries to explain away the history of religion
  2. he tries to undermine the psychological basis of religion

1. The history

There are two broad theological movements:

  • Degenerationist: pagan religions are distorted versions of the original pristine version of the True Religion clearly understood by Adam and Eve; then came the Fall, the Tower of Babel and it’s been downhill ever since.
  • Meliorist: religion is evolving into higher and purer spiritual forms from its early primitive, half-savage forms.

The 18th century Enlightenment philosophers were degenerationists. For them denominational religion was a distortion of the original clear light of Reason which God had given to Mankind, which had been distorted by popular custom and the inventions of priests.

The nineteenth century saw Enlightenment Nature-theism transmuted into a Science of Religion. Simultaneously, colonial discoveries and the improvement of philology and textual criticism, provided a number of tools for paring away the ‘nonsense’ which had accumulated around the pure creed. The high point of this tradition is the work of Ludwig Feuerbach, who sought to remove the superstitions and legends accumulated over time in order to get back to the original pure creed of Christ.

Darwin turned the theory of degeneration – religion starting from the divine heights – on its head. Evolution implied a struggle upwards of intellect and reason from the savage swamp. This prompted a revolution in the ‘Science of Religion’; instead of hypothesising about what the early and purest creed must have been, scholars now examined earliest religions to ‘get at the heart’ of belief.

It is as a result of this new model that specialists devised a developmental model of religions, speculating that all religions start with primitive animism – then proceed to pagan polytheism – and then evolve to an intellectual and spiritual climax in monotheism (with a possible pre-animistic stage of belief in a world-soul, or mana).

An ethnologist called W. Robertson Smith thought the key parameter was not spirits and gods but the development of ancient rites and rituals: totemism, always accompanied by systems of taboos (‘Thou shalt not kill the totem animal’, ‘Thou shalt not marry thy sister’ (exogamy) and so on). (Taboo is Polynesian for untouchable). Thus civilisations pass through a series of stages: Magic, Religion, Science. These kinds of theories were backed up by the tremendous encyclopedic systematisation of Sir James Frazer (whose masterwork, ‘The Golden Bough’, Freud was such a big fan of – see his own annotated copy included in the exhibition at the Freud Museum).

This was the background Freud drew on when writing Totem and Taboo (1912) – at the suggestion of Carl Jung (still in the Movement at the point).

In Totem and Taboo Freud tries to assimilate the underlying fear of incest expressed in so many taboos (i.e. primitive morality) with the developmental model of religions, and with the ubiquity of totemism based round a holy animal who is eaten in an annual festival. Freud tries to draw a parallel between the religious practice of ‘primitive’ man and the behaviour of modern, urban obsessional neurotics, and between the savage’s reverence for the totem animal, representing the Father, with the explicit rise of the Father to pre-eminence in monotheistic religions.

In explaining the rise of totem animals Freud points to the suggestive way that young children initially like animals but then develop fears of them as they unconsciously project their Oedipal feelings (feelings of rage and of reciprocal anger) onto them.

The classic example in Freud’s writings is the case study of Little Hans, who was petrified of horses. This irrational phobia analyses out into fear they will bite him; and soon enough it is discovered that the horses in fact stand for the father who Han is afraid will chop his penis off.

To revere a totem all the year round and then kill it and eat it in a festive meal is, for Freud, a beautiful demonstration of Oedipal ambivalence, love/hate, revere/kill.

For Freud the Oedipus Complex is at the centre of all religions. The difference with Christianity is that it is a Son-religion. We identify with the Son crucified to appease the guilt we all feel at the communal assassination of the primal Father. To identify with Christ is to be relieved of the guilt of the primal parricide which Freud posits as the basis of human society in Totem and Taboo. It is to become free, rather as the neurotic, after analysis, is freed from his irrational obsessions and becomes free and autonomous to work and love.

2. The essence

Religious belief is an illusion, the fulfilment of the oldest deepest wishes of Mankind, childish wishes for:

  • protection from an uncaring world
  • universal justice (recognition of our own deserts, punishment of those who have wronged us)
  • eternal life

Freud’s diachronic history of religion – comparing early religion with childhood stages of thought – is complemented by his synchronic analysis – comparing contemporary, modern religious belief and practice with the behaviour and motivation of neurotics.

Freud doesn’t really say this fulfilment of deep wishes makes religion wrong – only that all aspects of it can be explained away in other, more scientific terms. Now, he says, as we acquire more knowledge about its origins and nature, religion is gradually dying (just as their as neurosis disappears from a gradually enlightened patient).

By contrast with religion, which fosters and encourages illusions about reality, Freud sees Science as providing an education for reality, in order to abolish childish reliance on religion and rebuild morality and social institutions on a clearer, unillusioned understanding of human nature.

We must grow up, master our own resources for real life, concentrate on this earthly life, prepare to build the New Jerusalem here on earth.

3. Critiques of Freud

In his 1927 pamphlet, The Future of An Illusion, Freud said that attacking religion may do psychoanalysis harm and the book proceeded to do just that by rousing the wrath of churchmen and moralists against him and his movement.

So Freud tried to emphasise that psychoanalysis is a neutral scientific tool, like infinitesimal calculus, a specialised tool for examining the human psyche. It could equally well be used by the defenders of religion.

Eugene Bleuler

Eugene Bleuler was one of the first to take issue with Freud. Bleuler, head of the Bergholzli mental institute in Zurich, Jung’s boss and man who gave us the terms ‘depth psychology’, ‘schizophrenia’ and ‘ambivalence’ was an early convert to psychoanalysis, but he could not go the whole way with Freud.

He granted the discovery of the unconscious but asked, Is it right to consider it only negatively, as a reservoir of repressed wishes, of the dark side? Is it right to regard the psyche as a simple machine, a mechanism within which psychic forces trigger each other and energy is circulated as in a sophisticated steam engine? Is it right to see the human animal motivated only by sexuality (even in the special widened sense Freud gave the word)? Is it right to see the mind as entirely determined by events in the distant past and not as a creative, proactive organism capable of creating new meanings and goals?

Alfred Adler

In 1911 Adler published his Critique of the Freudian Sexual Theory of Mental Life and was expelled from the Psychoanalytic Movement as a result.

A convinced socialist and, later, friend of Trostsky, Adler believed in looking at the individual as a whole in relation to the social world and all his relations with it. The aim of therapy is to build up the individual’s integrity and wholeness. Neuroses start in inferiority (the inferiority complex) and maladjusted attempts to overcome it (“the Masculine Protest”). The patient must abandon these ‘egocentric’ positions and get involved with the group. Happiness is community-based (you can clearly see Adler’s socialist bias).

(Although he powerfully denied Adler’s views once he’d been booted out of the movement, Freud later accepted some of his ideas about aggression. Some critics say Freud’s 1922 revision of instinct-theory dividing instinct into two drives, Eros and the death drive, are indebted to Adler.)

Jung

In 1913 Jung left the Movement and refined his own theories into what became Analytic Psychology. Jung redefined the libido as undifferentiated psychic energy (effectively denying its sexual nature) and claimed that it produces four processes – thinking, feeling, sensation and intuition. Each of these is governed by a dialectic, thus:

  • thinking – the rational evaluation of right and wrong
  • feeling – you divide feelings into pleasurable and unpleasurable
  • sensation – you divide into external and internal stimuli
  • intuition – according as it is effective or ineffective

The individual is governed by two modes of approach to these four processes:

  • extravert – influenced by objective factors
  • introvert – influenced by external factors

The two modes apply to each of the four processes thus giving you eight character types. Whenever the one mode of each process dominates, the opposite mode rules the unconscious, and you have to get to grips with this dark side of the soul, ‘the shadow’.

The psyche is also defined by whether it is dominated by anima (female) or animus (male). Whichever dominates, you have to accept the opposite into your life. And you have to reconcile the ‘persona’, the face we make to meet the outside world, with the demands of the ego.

The aim of Jungian therapy is to bring all these facets of the personality into alignment into one integrated personality. (This brief account leaves out all Jung’s theories of the individual and the collective unconscious, archetypes, myths and symbols etc.)

For Adler, religion is the expression of the will-to-overcome humanity’s perceived inferiority in the face of implacable reality: religion works towards an ideal future perfection. For Adler, God is the perfection of a thoroughly human ideal of overcoming. Adler sees a place for religion in the perfect human society since it reflects a thoroughly human wish – but he doesn’t believe in it.

Jung blamed Freud’s thoroughgoing rejection of religion on his being a child of the late-Victorian rationalist materialist worldview (as described above). For Jung, religion is true insofar as it is believed. Jung wanted to remain a Christian but thought denominational Christianity was chaotic and confused and stood in need of further clarifying about the human soul: and this is what his depth psychology could provide.

Neither Jung nor Adler answer the big question set by Freud: Is religion nothing more than a fulfilment of mankind’s oldest deepest wishes?

Küng’s critique

Freud’s developmental history of religion (animism >pantheism > monotheism > science) is nowhere now taken seriously. All these belief systems exist in various places in the world but have nowhere been found to follow this pattern. Sometimes they’ve gone ‘backwards’. In many places aspects of the supposed different levels of development exist happily alongside each other. Nowhere is there proof of development from one stage to the next.

Nowadays Freud’s optimistic scientism has been replaced by a belief that science may have reached its limits in explaining the origins of the human mind. We even consider that primitive peoples know better than us how to live in sympathy with their environment and that – far from leading us to a utopia cleansed of irrationalism – there may be something inherently destructive in scientific enquiry.

In 1912, the same year as Totem and Taboo was published, Emile Durkheim, the founder of modern sociology, refuted Freud’s idea of primitive religions as slavishly superstitious, but said that they contained a hard core of reality, in laying down codes of practice which had their origins in relationships in primitive society, the clan.

Durkheim was followed by most modern anthropologists and sociologists in looking no further for meaning than the internal rules of each individual tribe and culture. (Compare the anthropological structuralism of Claude Levi-Strauss.)

Thus neither the degenerative or the evolutionary theory of religion can be proved or disproved. Modern ‘primitive’ peoples aren’t photographs of the early days of humanity, as Freud and his sources thought. They themselves are the result of immense histories and traditions, albeit unwritten.

(One modern theory to explain their lack of development is to assign a crucial role to writing; whoever learns to write can leave histories; histories can be compared with modern practice and so enable the beginnings of a rational critique of social practices.)

Today there is less historical speculation, less moral-drawing, more studying of patterns of culture in situ using the functionalist approach pioneered by Bronislaw Malinowski.

At the other end of the scale modern research shows that religion has always existed. 100,000 years ago Neanderthal Man made grave furnishings; 150,000 years ago Heidelberg Man apparently offered the first fruits to his gods. The question has become not to explain away the existence of religion but to understand that for primitive man everything was religious. The more modern challenge is to explain away the rise of the secular, the scientific worldview.

Even Freud’s facts are largely wrong: totemism is not found among the beginnings of religion; among hundreds of totemic tribes discovered and documented only four knew of a rite which even vaguely resembled killing and eating the father. For anthropologist Mircea Eliade, the triumph of Freud’s views for a while was due to fashion: he established a fashionable doctrine which explains nothing in history or the rest of the world but does help explain the western intellectual’s own sense of dissatisfaction with established religion but obscure sense of guilt at the prospect of overthrowing it.

Freud claimed that psychoanalysis was a neutral tool for the cure of souls, practicable by lay and pious alike.

All Freud’s actual arguments for atheism are old, taken from Feuerbach et al but given new impetus by being underpinned by this new method of exploring the psyche. For example, all ‘projection theories’ of God as fictional answer to suffering humanity’s wishes and fantasies stem back to Feuerbach.

But Feuerbach’s, Marx’s and Freud’s atheisms are hypotheses which have not been proved. Against the reality of experience they set theory; and in the end, for all the subtlety of their critique of the social, economic or psychological determinants of the formation of religious belief in individuals and societies, no conclusion can be drawn from their theories about the existence or non-existence of God.

All human believing, hoping, loving contain elements of projection. But its object need not therefore be merely a projection. (page 77)

From the psychological point of view, faith is always going to look like the projection of early father-figures but this does not mean that God does not exist. That’s to say, the mere existence of a wish for God does not throw doubt on the actual existence of God. Perhaps it’s true:

Perhaps this being of our longings and dreams does actually exist. (page 79)

Thus Freud’s atheism (which he professed long before the discovery of psychoanalysis) turns out to ‘a pure speculation, an unproved postulate, a dogmatic claim’, just as dogmatic as anything laid down by his hated Church.

Freud’s scientism

Nowadays it is Freud’s belief in the ability of science to tell us the truth about the world, and to tell us how to behave in the light of this truth, which seems dogmatic and irrational.

Oskar Pfister, prophetically enough, criticised Freud’s position as itself an illusion before the Second World War; and since the experience of National Socialism, communist totalitarianism and the forces unleashed by the Western development of atomic bombs, the promises of atheistic science have themselves come to look deeply compromised.

The nineteenth century positivistic tradition of science delivering a utopian future now seem ludicrous. (To be fair, Freud towards the end of his life became increasingly pessimistic about this). The ideology of total planning based on rational analyses of human nature and human needs now lies in ruins: we are resigned to living with our imperfections.

For many people it is godless technocratic progress which has become the monster from which we must free ourselves. Cannot religion in fact help here, by providing a morality, a synthesis with science to create a humanistic morality?

Or will society create a new space of total disillusion with both modes of thought, neither militantly atheist nor evangelistically believing – simply drifting from belief to belief in a vast supermarket of the soul?

Is psychoanalysis a Jewish science?

Yes, says Kung. Freud was a stern Jewish moralist in a long tradition of stern Jewish moralists. He taught that all decent human life, all civilisation, rests on the suppression of sexuality, instinct and childhood gratification.

Everywhere in Freud you sense the return of the repressed legalism of the Jewish tradition which he ostentatiously rejected. There is little talk of joy or pleasure in Freud (this is what the French brought to it in the ‘jouissance’ of Barthes et al, bringing actual sex into all Freud’s talk about sex).

No, Freud’s psychology is deeply indebted to the repressed heritage of ancient Mosaic legalism. And this helps explain his lifelong obsession with Moses and his embarrassing attempts to explain away, to master, to over-write the mystery of Moses and Monotheism in his last work.

4. Critique of the critique

From Freud onwards every sphere of human knowledge has had to take account of the vast new terrain of the unconscious which Freud uncovered, and its impact on our lives. What Feuerbach wanted to achieve by a ‘cleansed’ philosophy, what Marx wanted to achieve by a science of social relations, Freud wanted to achieve through depth-psychology: an emancipation, a revaluation of the humanity of Man.

Kung concedes Freud’s criticisms of the failings of denominational religion and agrees that psychoanalysis can help in counselling etc. Psychoanalysis can liberate us from neurotic guilt feelings and help the neurotic subject return to autonomy. But it can’t relieve us of the fact of sin.

It can eliminate illness but it cannot answer ultimate questions about meaning and meaninglessness, life and death. Its aim is to bring things into consciousness, not to forgive; it is healing not salvation.

Küng’s advice to therapists is to be more religious.

Küng’s advice to theologians is to take more account of depth psychology.

Freud thought all neuroses were the result of repressed sexuality. On the contrary, Jung thought all neuroses were the result of what used to be called religion; the lack in people’s lives of a system to give their lives meaning or purpose. Jung criticises psychoanalysis for thinking the ego can stand up to the ‘dark side’ of the soul without the help of some revealed superhuman agency. In Jungian analysis this actually becomes the therapist and the therapeutic alliance.

Erich Fromm in Psychoanalysis and Religion sees two kinds of therapist:

  • the adjustment advisers
  • the doctors of the soul, committed to the optimum development of the self

For Fromm psychoanalysis is adaptable to humanitarian religion. ‘Wonder, rapture, becoming one with the world,’ all these feelings are generated in analysis, in the proper acknowledgement of the power of the id and the assent to life with all its imperfections. Fromm is an assimilationist. There should be no enmity between psychoanalysis and religion.

One of Freud’s problems was that he concentrated on an Old Testament punitive, superego-led religion; he completely failed to understand the quality of rational assent to the New Dispensation. For example, Freud tends to see Jesus only in terms of a revision of Judaism – Jesus as the sacrifice of the Son to the Father which ends the thousand years of Jewish guilt. Despite railing against it all his life, Freud showed surprisingly little understanding Christianity and its new creed of Love, of salvation through Love. (This was Pfister’s complaint also).

In pre-War Vienna Victorian sexual repression led to sex, instincts and the id being at the centre of investigations of psychic life. But, Küng argues, since the middle of the twentieth century there has been a steady growth in indulgence of all these instincts. Nowadays (when he was writing, in the 1970s) Küng thought that our biggest problems were caused by the opposite of repression, but by the overindulgence of the instincts and all the addictions and moral anarchy they lead to.

Since repression is no longer the problem it was in Freud’s day (1880s to 1910s) modern psychology has become more ego-orientated: how to give people a meaning and purpose, existential questions. The problem nowadays is one of spiritual emptiness. Technology may be daily triumphing over every aspect of our existence but it cannot finally give that existence a meaning. Küng (like Pfister before him) argues for a rational religion to cure the ill, prevent regression, channel grief and fear, help control the unbridled pleasure principle and contribute to healthy individuation.

Very late in the day, in 1933, when Hitler took power, Freud and Einstein exchanged letters on how to prevent another war. Freud seems in this late exchange to have suddenly grasped the reason behind, and the need for, a socially approved creed of Love.


More Freud reviews

Freud and His Followers by Paul Roazen (1975)

Paul Roazen (1936 to 2005) was a political scientist who became a leading historian of psychoanalysis. I first read this history of Freud and the psychoanalytic movement back in the early 1990s when it was only 15 or so years old. Now it’s getting on for 50 years old and, as I set off to read it again, I wondered about its value and relevance. Hasn’t it been superseded by more recent accounts with more modern perspectives?

Interviews

But, as I read on I discovered that this book has one really unique and enduring selling point which keeps it relevant. In 1964 Roazen set out to interview as many people as possible who had had direct experience and knowledge of Sigmund Freud. He managed to interview over 70 people who knew Freud personally; 40 or so who had taken part in the early movement or had a professional interest in its history; 25 of Freud’s actual patients; Freud’s sister-in-law, two daughters-in-law and three of Freud’s children.

(Roazen gives a full list of all those interviewed in an appendix. He also gives an extensive account of his interviewing methodology in the opening chapter.)

So even though this book is almost 50 years old, and the project itself began almost 60 years ago, the number and range of people he interviewed makes the book itself a unique historical record. While he was doing his research a steady stream of the interviewees, many in their 70s or 80s, passed away, slowly converting the book into a unique source of opinions from people who were patients of, trained under, or were directly related to Freud.

Having established his methodology, Roazen goes on to compare himself with the leading Freud biography of his day. From 1953 to 1957 Freud’s most loyal English disciple, Ernest Jones, wrote his epic three-volume biography of Freud. In this, as in all his other assessments and judgements, Roazen gives the impression of being thorough and balanced and fair. His view is that Jones was immensely thorough but, at many points, erred on the side of caution and discretion, not least to please Freud’s daughter Anna who, as early as the 1920s, had emerged as Freud’s heir and keeper of the flame and was to live on, protecting her father’s archive and reputation, until 1982.

So Roazen’s aim was to go beyond Jones, not by doing more work in the Freud archives (although he did gain unique access to the archive, as well as to the papers Jones acquired in researching his biography); but by using the method outlined above, by undertaking the most comprehensive possible set of interviews with people who knew Freud.

Context

This means that the book has much more context than a straight biography, in at least three distinct ways.

1. The followers

The most obvious way is indicated in the title of the book, which declares that it will treat Freud’s followers as thoroughly as the master. Hence, after spending 200 pages retelling the story of Freud’s early life, family, student days, tentative steps as a medical researcher, then covering the breakthrough into the invention of psychoanalysis and his development of it up to about 1910 – Roazen then devotes the remainder of this long book to a series of lengthy, in-depth chapters about ‘the followers’. These are:

  • Alfred Adler and Wilhelm Stekel (pages 187 to 233)
  • Jung (pages 235 to 300)
  • the followers who remained ‘loyal’, being Victor Tausk, Lou-Andreas-Salomé, Ernest Jones, Sandor Ferenczi, JJ Putnam, HW Frink, AA Brill (pages 304 to 386)
  • another rebel, Otto Rank (pages 389 to 413)
  • a chapter devoted to women followers: Ruth Mack Brunswick, Anna Freud, Helene Deutsch, Melanie Klein (pages 415 to 478)
  • a short section about Erikson and Hartmann (pages 499 to 505)

All this before finally returning to the man himself in the final chapter to describe Freud’s decline, flight to England, and death. Well over half the book’s 520 or so pages of text are devoted to ‘the followers’.

2. Using the interview material

Early on, when dealing with Freud’s parents and birth and boyhood and so on, all the interview material Roazen goes to some trouble to explain right at the start of the book, isn’t used very much. Even when we get to the time Freud spent in Paris studying under Jean-Martin Charcot (October 1885 to January 1886), or his ten-year collaboration studying the origins of neuroses with Josef Breuer (1890 to 1900), or his intense correspondence with sounding board Wilhelm Fliess (1887 to 1904) – Roazen gives some quotes and opinions from his interview material but not enough to change the already established stories.

The benefit of the interview project really kicks in when Roazen starts to explain the theory and practice of psychoanalytical therapy itself, the famous talking cure. This is because he now quotes extensively from many of the actual patients Freud treated, and so you he starts to depart from all the official, stiff and often pompous descriptions which Freud and his followers gave in their writings, and depicts actual practice which is far more irregular, ad hoc, unpredictable than you would have imagined. Suddenly the narrative becomes really gripping, and really human. Roazen’s interviewees’ testimonies build up a vivid picture of a flawed and deeply complicated person.

This account feeds off in two directions. It links up with the idea of the ‘followers’ because many of the patients not only describe their therapy with Freud himself, but were farmed out to what, by the 1920s, had become a sizeable number of disciples in what was now an international Psychoanalytical Movement. My point being you don’t have to wait till the later chapters to hear about the followers, you begin to get a sense of which patients Freud assigned to which of his followers, and why, and how they fared, and sometimes the conversations which went on between, say Ferenczi or Deutsch, about a patient he’d given them.

There’s a fascinating section about how long an analysis should last, with a wild variation, from one or two months to 3 or 4 or 5 years, with some patients requiring top-ups for the rest of their lives (p.145). He even admitted, on a rare occasion, that analysis could in fact, last a lifetime (p.146).

It’s here, about page 140, that the book suddenly opens up and starts giving you all kinds of insights and information you don’t get from a standard biography.

If Freud allowed himself privileges which were not for younger and more inexperienced analysts, it was because he was above all an investigator and would try almost anything once. (p.139)

Suddenly, you start seeing Freud in the wider context of the broad Psychoanalytic Movement, at first regarding treatment of patients, then other issues, and this prepares you for what’s coming up, which is the major disagreements which caused the schisms.

3. The American context

Lastly, Roazen is an American academic living on the East Coast familiar with New York and New York psychoanalysts. So a thread running through the book (once it gets warmed up about page 140) is continual comparisons between Freud’s official writings and the (sometimes wild variation in his actual) therapeutic practice on the one hand – and the staid, dull, conformist practice of the American psychoanalysts Roazen appears to know or writes confidently about.

In a nutshell, the early psychoanalytic movement included quite a few madly inventive, not to say screwed-up, individuals who rang all possible changes on Freud’s original ideas, from modifying them, to introducing new concepts, to rejecting the entire thing and walking away to set up their own movements (Adler, Jung, Rank).

But when the founding fathers and mothers fled Europe with the rise of the Nazis and then the Second World War, they found themselves in a completely different culture, far less anarchic and individualistic, far more intensely capitalist and professionalised than the old world. And so the next generation of analysts, American-born, tended to be much more professional and regular and strict and boring.

Psychoanalysis grew so fast as a movement that it has sometimes oversold itself as therapy; Americans in particular have been guilty of this. (p.186)

This decline was part of the general disappointment which came to characterise the movement, and which Roazen mentions again and again:

Psychoanalysis began with the bold hope of freeing us from mental conflicts. Its history, however, records a series of retreats in its claims for therapeutic efficacy. Originally Freud proposed to apply depth psychology to all the human sciences. But by now psychoanalysts are largely content to restrict their profession to a medical specialty. Whereas Freud and his immediate followers were radical in their expectations and their promises, and considered themselves at odds with conventional society, success has now bred a very different group of psychoanalysts … Psychoanalysis as a field is now incapable of attracting people as original and, it should be said, as undisciplined as those who joined it half a century ago. (p.32)

Compare with the repeated criticism of contemporary (1975) New York analysts for being cold and distant (p.147). But the real criticism of American psychoanalysis is that it lost its theoretical energy, its radical charge, and became just one depth therapy among many others (p.388).

(Compare with Helene Deutsch’s disappointment, in later life, at the relative failure of analysis as a therapy, p.465.)

A lot later, Roazen summarises that the trend in American psychoanalysis has been towards emphasising the ego and the healthy-minded aspects of Freud’s work. It ‘hinges on Heinz Hartmann’s concept of the “autonomous” ego to resist regressions’ (p.473)

Recap

To recap, then, this is far superior to a standard biography because it a) quite quickly places Freud amid the burgeoning, squabbling world of his followers; b) Roazen’s unique interview material provides amazing insights into the actual practice of therapy in the 1920s and 30s, as well as the complex network of therapists and patients which surrounded the great man; and c) Roazen is viewing the whole thing from 30 or so years later, when the initial, explosive creativity of the movement has fizzled out (in America, anyway) into professional conformity. It went from being a radical revolution to a conservative profession. Freud unhappily anticipated this and tried to prevent it:

‘Because of the rarity of such a combination of qualities as are needed to form the true master of mental healing by the psychoanalytic method, psychoanalysis should always remain a vocation, a mission, and should never become (as unhappily it often does today) a mere occupation or business.’ (Freud quoted on page 143)

Topics

Rather than summarise the whole book, I’ll highlight interesting topics.

The roles of Charcot and Breuer

Charcot discovered that by implanting an idea into the unconscious mind, via hypnotism, he could trigger hysterical symptoms in a patient.

Breuer discovered that if you extracted a pathological idea from the unconscious by making it conscious, then a pathological symptom disappeared.

Is psychoanalysis a Jewish invention or profession?

Personally, I think it’s obvious that psychoanalysis was a Jewish invention, something to do with:

  • close scrutiny of the self
  • a Talmudic attention to texts and words for hidden meanings
  • the outsiderness of Jews in antisemitic central Europe made it easier for them to take unorthodox risks
  • a certain type of neurotic intensity which seems to be part of Jewish culture (this may be wrong, but my views are based on the novels of Saul Bellow, Philip Roth and the movies of Woody Allen, all of which tend to ridicule goyim for being so much simpler, cruder and less obsessively reflective than Jews)

But because its founder and earliest adherents were all Jewish doesn’t make it a ‘Jewish science’. Obviously, its teachings have been taken up and developed by plenty of non-Jews and it works as a therapy for all kinds of people. In the same way that soul music is indisputably the invention of Black people, comes out of black social and musical culture, but can be enjoyed by anyone and has led plenty of white people to develop their own variations.

For what it’s worth, here are some of Roazen’s references to Jews and Jewishness in the book:

  • Freud could be suspicious of non-Jews. (p.36)
  • A Viennese Jewish analyst, Hanns Sachs, on moving to America and treating more gentile patients than he had in Europe, was worried how he could continue to analyse without Jewish stories. (p.42)
  • Freud remained sensitive to antisemitism and wary of all gentiles. He believed that basically there was no-one who was not antisemitic. (p.49)
  • To accomplish a great intellectual (rather than military) achievement was not only far more in accord with Jewish culture but was also in itself enough to establish the superiority of the Jewish spirit over the philistine Gentile world. (p.55)
  • Freud founded a great movement by which, in a sense, he sought to undermine Gentile values. (p.55)
  • As a Jew, Freud felt keenly the need for the help of the Gentile Jung. The Viennese psychoanalytic group was made up almost entirely of Jews, and Freud wanted psychoanalysis to be something more than a Jewish sect. (p.238)
  • ‘It is really easier for you than it is for Jung to follow my ideas, for in the first place you are completely independent, and then you are closer to my intellectual constitution because of racial kinship, while he as a Christian and a pastor’s son finds his way to me only against great inner resistances. His association with us is the more valuable for that. I nearly said that it was only by his appearance on the scene that psychoanalysis escaped the danger of becoming a Jewish national affair.’ Freud writing to Abraham (quoted page 239)
  • As a Jew trying to subvert and overcome Christian standards of morality, Freud had to break out of the constricting confines of Jewish circles in Vienna. (p.239)
  • Others in the movement regarded Freud’s reliance on Jung as currying favour with the Gentile world. (p.259)
  • Freud as a Jew sought Jung for the sake of breaking out of the constricting milieu of Viennese Jewry. (p.261)
  • In Freud’s movement Ernest Jones stood out as one of the few notable Gentiles. (p.347)
  • [Freud was] a master of Jewish anecdotes. (p.405)
  • Like Jung, [Heinz] Hartmann represented the world of academic psychiatry and was the Gentile Freud could rely on to keep analysis from being a completely Jewish affair. (p.505)

Why did psychoanalysis take off so quickly in America?

Roazen lists possible reasons:

  • core aspects of American culture – optimism and belief in individualism – chimed with a therapy which promised that the individual can cure themselves, through their own efforts
  • a child-centred culture liked the idea that all problems can be traced to childhood traumas or, to put it another way, we can develop new types of education to prevent those traumas ever taking place
  • a childish culture took to the idea of idealising child-like spontaneity over stifling ‘society’
  • America contained many rich people, specially in New York where the fleeing analysts arrived; before they knew it, they were treating the neuroses of the very, very rich
  • the rich like fashions and fads; psychoanalysis became steadily more and more fashionable in the 1920s and 30s
  • America, as a young nation, had a young unformed, malleable culture which this ‘radical’ new therapy could penetrate more easily than in hidebound European societies
  • America is a nation of immigrants who must carve out their own identities – psychoanalysis promises to help you do that, get in touch with your inner child, work through your problems, become successful etc
  • America, unlike France, Germany, Britain, lacked a psychiatric tradition of their own, so they, in effect, imported one and adopted it

In 1921 Freud had nine patients in analysis: 6 were new, of which 5 were Americans (p.145). By 1928 the majority of Freud’s patients were Americans (p.137).

American analysts in particular tended to be more orthodox than Freud, since European analysts were likely to have more regular contact with him. (p.142)

Later, discussing the influence of Putnam, Frink and Brill in America, Roazen suggests the US has an odd schizophrenia because its public rhetoric is all about individualism and self expression and yet in many ways it’s a deeply conformist society (shaped, although he doesn’t say this, by the all-pervasive effect of consumer capitalism).

American psychoanalysis quickly became professionalised, and well paid, talking among themselves the rhetoric of rebellion and radicalism, but in practice helping the mentally ill fit better into their society’s needs.

Although Freud loathed America…

Freud visited America along with Jung in 1909. He was quietly appalled at the lack of manners and ceremony surrounding, for example, barbecues, the lack of culture, the frenetic pace of life. Throughout the 1910s and 20s Freud’s dislike of America steadily grew. He called America ‘a gigantic mistake’. He denied ‘hating’ America, merely ‘regretted’ it.

America offended Freud ‘by its deference to numerical superiority, its belief in statistics, and its worship of brash wealth’. He called Americans ‘savages (p.406).

Roazen shrewdly points out this was partly due to Freud’s aversion to feeling dependent and, by the later 1920s, most of his patients were American i.e. he had become financially dependent on the Yankee dollar (p.382 ff.) Well into the 1930s his American patients paid Freud $20 an hour (p.419).

Is psychoanalysis based around Freud’s own personality?

Yes and no. If you’re not expecting it, it comes as a surprise to read Freud and discover just how much he refers to his own experiences and dreams and intuitions on every page. His collected writings are more like literary works than scientific papers, and literary works which are, moreover, continually, insistently autobiographical. As he himself wrote in his Autobiographical Study:

Two themes run through these pages: the story of my life and the history of psychoanalysis. They are intimately interwoven. (quoted p.507)

Or as Roazen puts it:

It would be impossible to overestimate how much of himself Freud put into his work. (p.103)

His founding text, the Interpretation of Dreams, is one of the most autobiographical works ever written, the general principles he writes about being extrapolated from an apparently endless stream of Freud’s own dreams – many, many dreams from other sources, historical, from literature, from patients or friends; buy many of Freud’s own personal ones, too. And this feels like a fundamentally literary strategy:

As with other great writers, it required a rich self to enable him to recreate a version of human experience out of his autobiography. (p.44)

Freud was aware this was a very weak spot for his theory, and touchy about suggestions that the entire theory was a huge extrapolation of his personal neuroses (p.150), so there’s weight to the attack.

But you can’t dismiss psychoanalysis as being the extrapolation of one man’s personality for two obvious reasons: one, Freud developed and evolved his ideas, quite drastically, over the 40 years he wrote on the subject; sure, these were based on his own changing beliefs, but they also reflected changes in the evidence: some the result of long analyses over decades with scores or patients; some from the evidence of other analysts in the growing movement; but the biggest change coming as a result of the First World War and the epidemic of shell shock it created.

And the second rebuttal is the way psychoanalysis was taken up and developed and fine-tuned by plenty of other people, initially in the shadow of Freud (from which some rebelled), but then, in the next generation, among analysts who’d never met him and took his teachings in whole new directions.

Especially the women analysts. Yes, you can critique some aspects of the original teachings as reflecting his personality and obsession, for example, his persistent denigration of women:

  • He thought that shame was a specifically feminine trait (p.49)
  • Freud tended in an old-fashioned manner to idealise and yet also denigrate women…In Freud’s world women are treated as objects, rarely as subjects. (p.67)

And the way his entire model of the mind privileged the experience and development of boys and men, and placed the son’s alleged struggle with his father (the Oedipus complex, p.119) dead centre of his first model of the mind. Yes, his theory had far less to say about girls and women, and when it did, was of a consistently insulting nature:

Freud’s resistance to religious ideas as akin to his more general rejection of dependence and passivity, which he associated with femininity. (p.260)

But his followers a) included leading women figures, such as Anna Freud, Helene Deutsch, Melanie Klein  and b) they developed, rejected, improved and changed his teachings in all sorts of ways, especially regarding the role of mothers in the child’s development (see below).

Above all, psychoanalysis survived, as a theory and a practice, down to the present day, which it could never have done if it had just been an elaboration of just one man’s idiosyncrasies.

Psychoanalysis eventually became something quite different from Freud personally. As the movement expanded, changes were introduced into psychoanalytic thinking which would have been utterly alien to Freud himself. Working with the method he gave them, later investigators revised some of his most cherished positions. (p.46)

Prophet of doom

An interesting aspect which ties together the issues of Freud personality and success in America was his strong personal sense that civilisation was doomed (p.53). He was a pessimistic old so-and-so. He took a ‘characteristically harsh view of human nature’ (p.162).

Freud was inclined to think that not much could help improve mankind. (p.311)

Personally, I find his gloomy pessimism about human nature appealing about his work – as opposed to the happy, smiley, religiosity of Jung, which I find off-putting.

But there are two points: in his gloomy sense that civilisation was going down the tubes, Freud was very much of his time and place. Central European thinkers had been lamenting The End of Western Civilisation since the 1890s, a process crystallised in Oswald Spengler’s famous book, ‘The Decline of the West’ (1918). Freud’s own, late work, ‘Civilisation and Its Discontents’, published in 1930, took its place in this tradition of hand-wringing lament.

But it goes to show how little his personal opinions were stamped onto psychoanalysis that, in America, this gloomy old European defeatism was completely rejected in favour of the shiny can-do positivism mentioned above.

How important was the practice of psychotherapy to Freud?

The answer which emerges very clearly is ‘not very much’. Roazen’s account quotes sometimes shocking passages from Freud’s own letters to highlight two running themes:

1. Freud quite frequently refers to his patients as scum and riff-raff.

  • ‘I do not break my head very much about good and evil, but I have found little that is ‘good’ about human beings on the whole. In my experience most of them are trash…’ (quoted p.161)
  • ‘In the depths of my heart I can’t help being convinced that my dear fellow men, with a few exceptions, are worthless.’ (quoted p.161)

2. Freud thought psychoanalysis could only really work with patients who were a) mature and b) well educated enough for the ego to be able to make sense of the revelations therapy throws up (p.152); he preferred patients from ‘the more educated classes’ (p.153). In fact he went so far as stating that the ‘optimum conditions for psychoanalysis exist where it is not needed – among the healthy’ (p.175). He hoped for far more than palliating the anxieties of the well-off.

  • He had in mind something more cultured and more elevated than the treatment of psychotics; he wanted people to be higher and better. (p.158)
  • He demanded that people grow up; he expected more of mankind. (p.178)

And anyway: ‘No one has ever been fully satisfied with therapeutic results, analytic or otherwise’ (p.363).

3. He increasingly thought the hard labour of spending years trying to help people with obstinate mental problems was for ‘the theoretical yield’. In other words, he thought treating patients was only really justified by the new theoretical insights it could give you.

Freud the wordsmith

It’s extremely obvious that Freud was one of the great writers of the 20th century, that he based his theory and practice on a very close attention to words (in free association, slips of the tongue, as they transmuted into images in dreams, the acting out of transference in the analytical situation) and spread his teachings very successfully through his charming and persuasive writings.

An interesting light is shed by the fact that he didn’t like music because there are no words for the rational mind to latch onto.

  • Of all the arts music is perhaps closest to the id, and without a guide from the more rational part of his mind Freud felt uneasy. Unable to analyse the effects of music on himself, Freud could not enjoy it. (p.57)
  • ‘Music did not interest him because he regarded it as an unintelligible language.’ (Edward Hitschmann, quoted p.270)
  • ‘I feel no need for a higher moral synthesis in the same way that I have no ear for music.’ (Freud, quoted p.377)

The limits of psychoanalysis

Among the most interesting passages in the book is Roazen’s discussion of whether psychoanalysis can help mental illness beyond mild neurosis. Can it help with the more severe mental illnesses such as schizophrenia, manic-depression, multiple personality disorder? Short answer: No.

Tellingly, Roazen digresses from Freud to point out that psychiatry as a profession still (well, in 1975) had no hard and fast method of distinguishing between neurosis and psychosis, and only a poor understanding of the combined organic and psychological causes of severe mental illness; and a limited range of treatments, which often don’t really work.

That is the biggest context of all. Psychoanalysis evolved into a system of hermeneutics or interpretation – of signs, symbols, literature, art, film etc – in the essentially well. That’s where it has ended up having the longest life and biggest significance.

In the real world of psychology, it takes its place among a range of other talking therapies, strategies and medical treatment, of mild disorders such as neuroses and depression. It has turned out not to be the complete revolution in psychiatry which Freud and the early disciples hoped for.

Transference

The key criterion for deciding whether a patient was treatable was whether they could establish transference to the analyst. Yes, and the patient can project stifled feelings and act out smothered wishes onto the figure of the analyst and both can use these to dig down and unearth the roots of the neurosis. But if no transference can be established, no treatment is possible (p.165).

Darwin

Paul Robinson implies that describing Freud’s theory as an outcrop of Darwin’s theory of evolution was errant or scandalous, but that’s how I’ve always approached Freud. If there is no God, no plan, no teleology, if we have evolved by accident through a vast series of untold contingencies, if we are just another type of animal, but admittedly with this astonishing ability of reflection and thought – how would this ‘thought’ develop in the infant, how would its developmental stages linger in adult thinking; what is thinking? I like Freud because he situates us firmly in the animal kingdom where we belong, with no special dispensation.

It may be difficult for many of us to abandon the belief that there is an instinct towards perfection at work in human beings, which has brought them to their present high level of intellectual achievement and ethical sublimation and which may be expected to watch over their development into supermen. I…cannot see how this benevolent illusion is to be preserved. The present development of human beings requires, as it seems to me, no different explanation from that of animals. (p.261)

Its main legacy

Psychoanalysis has left a legacy too pervasive on twentieth century culture to be measured. But Roazen has a very simple paragraph which says that Freud’s greatest and indisputable discovery in psychology is the persistence of infantile remnants in the adult mind, to a greater extent and of a vastly more complex nature than anyone had ever realised before. (Mind you, he has Erik Erikson saying a sentence later that Freud’s ‘greatest contribution’ was the importance of psychosexuality, p.200).

Looked at another way, Freud’s main legacy is the widespread availability of depth psychological therapy in every country in the world. The basic idea that psychological problems and symptoms in any of us may have their roots in early infant experiences and that these can be recovered, remembered and resolved, may not be the universally recommended treatment of mental ailments, but is universally accepted as at least one of the main therapeutic strategies.

Titbits

Height

Freud was only just about five foot seven in height, whereas Jung, 19 years younger, was a strapping six foot two. If we adopt a heightist theory of history, trouble was inevitable.

The schism with Jung

After seven years of correspondence, during which Freud had adopted Jung as the Crown Prince of psychoanalysis, their relationship ended. On a lecture tour of America in 1912 Jung made his differences from Freud quite clear and throughout 1913 they argued, leading up to the Psychoanalytic Congress of September 1913 where battle lines were decisively drawn. Jung rejected the primacy of sexuality. He rejected the notion that children were in any sense sexual. He had the insight that the fact that so many patients in analysis brought up infantile sexual memories was in fact a screening device, a projection back into earliest memory, of problems the patient was facing in the present. That psychoanalysis presented many patients with the easy option of dwelling endlessly on the past rather than confront the difficult future. According to Roazen this insight is now generally accepted among contemporary psychoanalysts. In 1913 Jung delivered his paper announcing his concepts of introversion and extroversion, with Freudian psychoanalysis seen as merely a subset of the former.

He was, in short, developing an entirely different model of the psyche and Freud felt he had to make an absolute break in order to protect the integrity of his model and his movement.

Jung thought he was making common-sense adaptations to the evidence continually being thrown up by actual treatment of patient. But Freud thought the sexuality of children was the absolute bedrock of his theory and saw in Jung the same pattern he’d seen in Adler and, indeed, in most western medicine and psychiatry, which was inability to face the fact of childhood sexuality which was itself based on repression among the deniers. In a typically Freudian manoeuvre, he thought the more everyone around him denied the existence of childhood sexuality, the more true it must be.

Jung resigned his editorship of the movement’s magazine in late 1913 but hung on until April 1914 before resigning as president of the International Psychoanalytical Association.

Freud had to see things in embattled oppositions, a dialectic; at first the conflict between conscious and unconscious, after the Great War the conflict between the Life Drive and the Death Drive. Above all Freud had a strict requirement to make everything rational and clear and understandable; anything which couldn’t be clearly explained was a neurosis which had to be brought into the light of explanation.

Jung had a different temperament: he saw unity in the human mind, which could incorporate these other elements. He thought the mystical and unexplained needed to be experienced and healing, wholing properties. Freud thought only the unhappy neurotic man has fantasies. Jung saw fantasy as an aspect of creativity, as a positive component in a healthy mind.

Freud was obsessed with the impact of the earliest infant and childhood experiences on the adult. Jung became increasingly interested in the problems of the elderly. Older people are less concerned about the vicissitudes of sexuality, but by a search for meaning in life.

Jung had much more clinical experience working with the seriously mentally ill. This opened him up to a far greater range of ideas of what therapy could consist of and what ‘well’ looked like. Freud had a far narrower view and thought therapy could only work with neuroses and obsessions, in other words with relatively minor mental illness. This was because Freud’s model relied on the patient’s ego or rational self being relatively intact. Once the repressed traumas of childhood sexuality were dragged into the light of day and accepted, the patient could be relied on to integrate these insights and get on with life.

Whereas Jung treated patients whose egos were splintered and needed help just getting out of bed or getting dressed. So his model of therapy was far more interventionist. Freud advocated an aloof detachment, giving rise to a tradition of cold and antiseptic therapists. Jung thought therapy should more like a collaboration and a journey.

  • ‘The therapist is no longer the agent of treatment but a fellow participant in a process of individual development.’ (p.282)
  • ‘The psychotherapist should be absolutely clear in his own mind that the psychological treatment of the sick is a relationship in which the doctor is involved quite as much as the patient.’ (p.283)

Mind you Jung was a bigot, too. He was notoriously intolerant of male homosexuality. And he thought university education had a disastrous impact on women’s personalities (p.278).

Science

It was very characteristic of Freud not to define ‘science’ in terms of methodology, hypotheses, experiments and data, but solely in terms of his own model of the mind. Thus:

To Freud, the essence of science was that it represented ‘the most complete renunciation of the pleasure principle of which our mental activity is capable.’ (p.245)

But Roazen points out that this metaphor is immensely autobiographical. It simply described Freud’s personality – tight-lipped, stoical, immensely self-contained, aloof. An entirely subjective autobiographical model which every other analyst and therapist has been free to ignore, not least Jung with his emphasis on a more humane therapeutic engagement.

According to Roazen, it was in the 1920s that Freud moved away the often literary basis of his writings in a bid to emphasise the scientific nature of psychoanalysis.

Superstition

Superstition derives from suppressed hostile and cruel impulses. Superstition is in large part the expectation of trouble; and a person who has harboured frequent evil wishes against others, but has been brought up to be good and has therefore repressed such wishes into the unconscious, will be especially ready to expect punishment for his unconscious wickedness in the form of trouble threatening him from without. (Psychopathology of Everyday Life, 1901.)

Totem and Taboo

Roazen rubbishes Totem and Taboo as do all modern commentators. Freud projected his fairy tale ‘discovery’ of the Oedipus Complex back onto ‘primitive’ societies claiming that every society passed through the same developmental phase (just as he insisted all toddlers do), namely when the horde is dominated by a great Father who hogs all the nubile women, the young generation of men (all his sons) band together to kill and eat him, then are overcome with guilt and so institute a new religion around a great sacrificed god alongside complex taboos regarding incest and exogamy.

No anthropologist has ever found any evidence to support this story which amounts to a fairy tale, a projection by Freud of his pet developmental theory back into an invented prehistory. Totem and Taboo is Freud’s silliest book, though it has steep competition in the equally ludicrous Moses and Monotheism (Freud had the grace to describe Totem as a ‘novel’, though it is really the fantastical farrago of a very old man working out his obsessions in public) (p.301).

Famous analysands

‘Analysand’ means ‘someone undergoing psychoanalysis’. The most famous analysands would include composer Gustav Mahler, poet Rainer Maria Rilke, and novelist Herman Broch.

Ego psychology

Freud’s emphasis was on decoding the repressed wishes of the unconscious via dreams, slips and free association. His focus was on the unconscious and repressed drives. From the 1930s the younger generation of analysts began to switch the focus to the conscious mind, the ego, specifically to understand the mechanisms of coping and defence which the ego deployed.

In 1936 Freud’s daughter, Anna, who had followed him into analysis, published ‘The Ego and the Mechanisms of Defence’, a study of the ‘ways and means by which the ego wards off depression, displeasure and anxiety’. It became a founding work of ego psychology. By the 1950s this focus on ego psychology had become the main stream of psychoanalysis.

Two paradoxes

Calvinism, Marxism and Psychoanalysis are all deterministic ideologies, propounding iron laws of causation, and yet all relied very heavily on the achievements of zealous and energetic individuals (p.350).

Marx loathed Russia, its backwardness and brutality, and yet it was in Russia, of all the European countries, that his followers seized power and he was set up as a god. Similarly, Freud came to deeply loathe America and all it stood for (fake egalitarianism, lack of culture, surplus money) and yet it was in the single nation he hated most that Freud’s invention became most successful and lucrative (p.384).

A fine figure

Ernest Jones, the only Gentile in Freud’s close circle, a feisty defender of the Master, and very energetic organiser, the man who wrote the magisterial three-volume biography of Freud – was also an excellent figure skater and actually wrote a book about figure skating. (p.353)

Freud’s followers

  • Paul Federn (1871 to 1950)
  • Edward Hitschmann (1871 to 1957)
  • Victor Tausk (1879 to 1919) suicide after Freud told Helene Deutsch to stop analysing him
  • Lou Andreas-Salome (1861 to 1937)
  • Hanns Sachs (1881 to 1947)
  • Theodor Reik (1888 to 1969)
  • Herman Nunberg (1883 to 1970)
  • Karl Abraham (1877 to 1925) solid, reliable
  • Max Eitingon (1881 to 1943) Russian with enough private fortune to fund the Berlin Psychoanalytic Institute; analysed by Freud on evening strolls
  • Georg Groddeck (1866 to 1934) disorganised, Freud stole the word das Es for the unconscious, Groddeck believed organic illnesses were the product of thwarted desires, he specialised in applying psychoanalysis to organically sick patients
  • Paul Schilder (1886 to 1940) as professor of psychiatry at University of Vienna did more than any other man to promote psychoanalysis
  • Herbert Silberer (1882 to 1923) suicide
  • Ernest Jones (1879 to 1958)
  • Sandor Ferenczi (1873 to 1933) delightful, popular; Freud wrote more letters to Ferenczi than anyone else (2,500); diverged from Freud in later years by thinking patients needed the parenting and motherly love they often lacked in childhood
  • James Jackson Putnam (1846 to 1918) a Gentile, professor at Harvard and early American adopter of psychoanalysis; disagreed with Freud’s emphasis on conflict and the dark side of the unconscious
  • Horace W. Frink (1883 to 1935) a Gentile, had 2 analyses with Freud but then suffered a complete mental breakdown
  • Abraham A. Brill (1884 to 1948) by end of the Great War the acknowledged head of psychoanalysis in America (p.380)
  • Sandor Rado (1890 to 1972) brilliant pupil who was sent to direct training at the New York Institute but the faithful felt he had deviated in some of his books and led attacks which ended in him being expelled
  • Franz Alexander (1891 to 1964)
  • Erich Fromm (1900 to 1980) politically committed (Marxist) Fromm tried to integrate psychoanalysis with contemporary social thought. Together with Karen Horney and Harry Stack Sullivan, Fromm belongs to a Neo-Freudian school of psychoanalytical thought which is outside the scope of Roazen’s book
  • Erik Erikson (1902 to 1994) an intuitive child analyst with no medical or university training, Erikson was spotted and encouraged to become an analyst by Anna Freud. He found the atmosphere of the Vienna group stifling; after he fled the Nazis to America, Erikson worked on the formation of identity, postulating a sequence of identities which the developing must create in order to achieve ‘ego strength. Erikson coined the term ‘identity crisis’

Otto Rank

Otto Rank (1884 to 1939) from a very lowly background, was mentored and supported by Freud, became his indispensable secretary, expert on mythology, wrote The Myth of the Birth of the Hero which, in offering psychoanalytic interpretations of literature, was right up Freud’s street.

When the breach came it was about the role of the mother, and the aims of therapy. Up till the 1920s Freud’s theory focused almost entirely on the role of the father, specifically the boy child’s resentment and efforts to overthrow him, named the Oedipus complex. Mothers existed, but as the source of the succouring breasts or as objects of infantile sexual fantasy, rarely for themselves.

Rank greatly expanded the importance of the mother, the closeness of the mother-infant bond, and the importance of separation anxiety. Rank then sought the deep origin of that anxiety in the experience of the trauma of being born, a horrifying experience laid down in the unconscious and triggered by all kinds of later experiences. Therefore, he developed the idea that the patient relive the experience of being born; or at least act out the anxieties and terrors it gave rise to.

This was in flat contradiction to Freud’s notion that therapy be an entirely rational process whereby infantile issues were dragged into the light of day and calmly examined by the detached, clinical adult. Freud’s therapy was all about intellectual insight. Rank was suggesting emotional release. Insight was not enough; the patient needed active emotional support (something Jung had suggested before the war). All this was expressed in his 1924 book, The Trauma of Birth.

Wilhelm Reich (1897 to 1957)

Reich was one of the most extreme and radical analysts and Freud disliked him from the start. Where Freud thought therapy was predominantly about memory i.e. dredging up specific repressed memories which lay behind specific neurotic symptoms, Reich (like Jung and Adler) thought therapy should address the whole person.

He took a literalistic definition of sexuality as genital gratification, which Freud thought a massive step backwards to the traditional view of sex which his theory of libido was meant to expand and deepen. Reich thought mental illness was caused by sexual repression and therefore he promoted free expression of sexuality. In the 1960s this fed into the notion of ‘free love’ i.e. having sex whenever you wanted with whoever you fancied, leaving no sexual urge unexpressed.

Reich thought the family was the institution whereby each generation’s sexuality was defined, controlled, monitored and repressed and so he recommended abolishing the nuclear family, and having children raised by communities of adults (as later practiced in Israeli kibbutzim).

Finally, he was a Marxist, a rare political radical among the bourgeois analysts, who linked the overthrow of bourgeois society and taking ownership of the means of production, as cognate with overthrowing the nuclear family so that every individual could take ownership of their own sexuality.

In the late 1920s Reich went on a lecture tour of Bolshevik Russia where he claimed that without a full sexual revolution the Soviet state would degenerate into a repressive bureaucracy, the net effect of which was, amusingly, to prompt the Soviet authorities to shut down the until-then thriving Russian Psychoanalytic Society (p.493).

Reich was kicked out of the International Psychoanalytical Society in 1934. Reich moved to Norway where he carried out investigations into the nature of the orgasm (trying to measure electrical activity in the brain during sex). With the outbreak of war he fled to America.

Shortly after he arrived in New York in 1939 that Reich first said he had discovered a biological or cosmic energy, an extension of Freud’s idea of the libido. He called it ‘orgone energy’ or ‘orgone radiation’, and the study of it ‘orgonomy. (Wikipedia)

His increasingly wild experiments with orgone and erratic behaviour drew the attention of the authorities and, after a sequence of legal problems, he was sent to prison in Pennsylvania where he died of heart failure in 1957.

Women psychoanalysts

The penultimate chapter, chapter 9, (pages 415 to 478), is devoted to the key women in the movement, namely:

Ruth Mack Brunswick née Blumgart (1897 to 1946)

Brunswick worked closely with Freud to flesh out his theories, subtly bringing out the importance of the mother in the development of the child, and the importance of the pre-oedipal period, especially in women, which Freud admitted he had been unable to get at because his women patients always projected memories of their fathers onto him (p.424). Brilliant theorist but Roazen depicts her as working too closely with Freud, her extended analysis with him (1922 to 1938) turning into a psychological addiction. She became addicted to painkillers and died miserably.

Anna Freud (1895 to 1982)

Freud’s youngest child, an unwanted pregnancy, ended up becoming his primary carer after he was diagnosed with jaw cancer in 1923, and then jealous protector of the family archive, letters and so on. Nowhere near as intellectually brilliant or as good a writer as her father, she nonetheless developed into a leading figure in the next generation of the movement for her pioneering work with children. For five years before she thought about becoming an analyst, she worked as a schoolteacher with small children, and this experience fed into her therapeutic practice and then theoretical writing (p.433). She set up the Anna Freud Clinic which continues to this day.

Anna said that children couldn’t be directly analysed because their chief transference remained onto their parents. Therefore the analyst had to a) develop an educative relationship with the child i.e. stand in the relationship of teacher but also b) work through the parents. Often, changing the family situation was enough to cure a child’s symptoms (p.438).

But her key theoretical work was to pioneer the new focus from the 1930s onwards on ego psychology (see above). Her most famous book, ‘The Ego and the Mechanisms of Defence’, listed these mechanisms: regression, repression, reaction-formation, isolation, undoing, projection, introjection, turning against the self, denial, identification with the aggressor – all strategies to help the ego cope, manage, survive.

With Dorothy Burlingham she set up a hostel for parentless children during the Second World War and noticed that if one of the women carers succeeded in forming a mothering bond with a child, the child’s halted development could resume. The importance of mothering. During the 1950s and 60s it became more obvious that relationships with the good or bad mother played as much or a greater role in child development as with the threatening father depicted in Freud’s version of analysis.

Helene Deutsch (1884 to 1982)

Pioneer of female psychology. Published The Psychology of Women (1945). Despite her emphasis on the importance of the mother in the child’s development, many of Deutsch’s views were, echoing Freud’s sexism, surprisingly conservative, and she has come in for criticism from feminists. For example, Deutsch’s belief that a woman only becomes fully a woman by transferring her agency onto a strong man to whom she willingly becomes a dependent. She must leave the initiative to the man; she must renounce her originality, etc. Roazen cites a critique by Germaine Greer. (Roazen gives a jaw-dropping compilation of Freud’s sexist assumptions, pages 462 to 465).

She was Freud’s golden girl in the early 1920s but they had a falling out and she never regained his trust, which hurt her for the rest of the life. She played a key role in setting up and running the Vienna Psychoanalytic Society, but spotted the looming threat of the Nazis and emigrated to America in 1935, where she continued practicing and was held in high esteem.

Melanie Klein (1882 to 1960)

Klein was one of the next generation of women who emphasised the importance of the Mother in a child’s development, in Freudian terms focusing on ‘pre-oedipal’ layers of child development.

Freud, in his rationalist patriarchal way, had emphasised the importance of words and reason: the repressed material has to be dragged into the light of day in the form of words. The female psychoanalysts highlighted the pre-verbal communication of the really young infant.

Klein caused a lot of controversy because she moved a lot of Freud’s developmental schema much earlier, into the life of the pre-verbal baby. She sees the baby as seething with the rage and jealousies which Freud had attributed to the Oedipus complex about age 5.

Klein was a zealot. She believed that children responded to the same therapeutic environment as adults. She thought the child playing with toys as the exact equivalent of the adult’s free association with words, and both as direct channels into the unconscious. She thought every child without exception should be given analytic therapy as a prophylactic against later neurosis. Roazen calls Klein’s approach ‘crusading’ and ‘utopian’ (p.478).

In this stern inflexibility she was the opposite of Anna Freud’s more nurturing, mothering supportiveness. The differences between the two women were made explicit when they both gave papers on child psychoanalysis at a psychoanalytical congress in 1927, and remained the source of sometimes bitter enmity. Freud was prepared to leave a patient with some neuroses if they helped him or her cope. Klein was ferocious to pursue every single neurosis in order to effect a complete ‘cure’.

Freud came to disapprove of Klein as the 1920s went on but was wanted to avoid an open break as he had with the big male schismatics: partly because the big three schisms were with men he had overloaded with oedipal significance and seen as his ‘son and heir’, Crown Prince etc, whereas he never gave any female analyst the same significance; partly because Klein’s theory came from a place doubly removed from his own experience, analysing children and deep consideration of the female psyche, neither of which Freud had a feel for.

When, in 1926, Ernest Jones offered Klein a job at the British Psychoanalytic Institute in London in a bid to beef up its intellectual level, she accepted the offer, moved to London and lived there for the rest of her life. Her fierce character and intense convictions strongly influenced British psychoanalysis and Roazen speculates that the British wing might, eventually have been forced to secede from the international movement if it hadn’t been for the Nazis.

The advent of the Second World War brought a wave of Viennese analysts to London along, of course, with the Master himself and her daughter. The newcomers thought Klein’s focus on pre-oedipal experiences was yet another denial of and resistance to the centrality of the Oedipus Complex – the same crux which had forced out Jung, Adler and Rank.

This town ain’t big enough for the both of us describes the daggers drawn atmosphere that developed between the well-established Kleinians and the newly arrived, orthodox Freudians.

Reading about the way Freudian psychoanalysis developed, evolved and splintered, creating divergent heretics and sects, gives exactly the same pleasure as reading about the first few hundred years of Christian history. There are multiple levels of pleasure. One is watching the way a fundamental idea can be reinterpreted, expanded, followed to its logical conclusions in ways its founders never dreamed of – like watching a game of chess unfold, like watching the plot of a good novel develop in ways you never expected but seem logical as soon as they’re explained.

And the other pleasure is a soap opera-level enjoyment of watching very clever people fight like ferrets in a sack. Roazen’s descriptions of Ernest Jones’s political manoeuvrings are entertaining, but not as funny as his account of the way Jones’s number two in London, Edward Glover, was conducting an analysis on Klein’s daughter, Melitta Schmideberg, and used material thrown up by this to attack Klein in the name of orthodoxy and Anna.

In a phrase, these very clever, very subtle people, who liked to imagine they held the key to solving all the psychological problems of mankind, turn out to be just as underhand, devious, manipulative and vicious as a cellarful of rats.

Thus Roazen speculates the way Melanie Klein’s writings emphasise the goodness of the mother but the child’s vicious, negative emotions, its possessiveness and anger, can plausibly be mapped onto the way her own daughter, Melitta, attacked her, in writing and in public forums.

The war of words really broke out at the end of the bigger world war, in 1944 and 45. A compromise was proposed whereby two groups would have separate facilities, the B group (Anna and followers) and the B group (everyone else). Some members joined the A group, some the B group, but at least half rejected the idea of a split, and wanted peace.

These became known as the Middle Group or Independents, and it’s from their number that the most influential British theorists emerged, namely John Bowlby, Michael Balint and Donald Winnicott.

Other notable women in the movement included:

  • Dorothy Burlingham, American who left her disturbed husband to move to Vienna with her four children; worked closely with Anna
  • Marianne Kris
  • Jeanne Lampl-de Groot
  • Eva Rosenfeld
  • Hermine von Hug-Hellmuth
  • Princess Marie Bonaparte (1882 to 1962)

Thoughts – the widest impact

Reading this book through to the bitter end (Roazen’s apparently never-ending list of Freud’s followers eventually becomes quite exhausting) makes you realise it’s getting on for pointless to try and assess ‘the legacy of Freud’ because his biggest legacy was that he created an entire new field of human enquiry and medical practice, which has spawned scores, maybe hundreds, of followers, acolytes and heretics who have themselves gone on to develop or invent whole new sub-domains and new channels of investigation.

Without Freud an Adler, Jung, Rank or Erikson and some of his umpteen other followers might have gone into psychiatry, but many wouldn’t have because they didn’t have the strict medical training required. So Roazen’s book teaches us that alongside a consideration of Freud’s achievement in terms of his writings and theory, must go the obvious fact that just as important was his creation of such a league of followers.

And that it is often through the followers that major ideas have emerged which have percolated into popular consciousness and popular culture. The concepts of the inferiority complex, identity crisis, separation anxiety, are all products of the intellectual framework Freud created.

*****

Great men

The most dated thing about the book is that Roazen comes from a time and place where he still believes in ‘Great Men’ and ‘Great Thinkers’. Although he critiques multiple aspects of Freud’s character and theory, nonetheless his basic instinct is to place Freud firmly in the pantheon of Great Men.

  • ‘Freud’s genius’ (p.13)
  • ‘a revolutionary in the world of ideas’ (p.29)
  • ‘Freud deserves to be a hero of our time’ (p.40)
  • Jones interpreted Freud’s credulity as part of the receptivity and open-mindedness that accompanies genius. (p.108)

He carries a 1940s/50s mental model of Great Men who Made the Modern World and are Heroes of Thought, Intellectual Giants etc. I don’t know exactly when this model died off – sometime in the 1980s? – giving way to a far more complex model which, for a start, includes lots more women, but more generally opened up the world of the mind to thousands more creative thinkers, across the full range of the arts and humanities and sciences, and also opened the doors to non-white people beyond the Anglosphere – till you arrive at the jostling, thronged, progressive and often dangerous, sometimes bewildering, multicultural intellectual world we live in today.

Americanisation

The second aspect I found odd was how conventional and conservative his view of psychoanalysis is. This might partly be because he’s American. Americans are (or were) notorious for their positive, upbeat, can-do attitude. Businesslike, have-nice-a-day consumer capitalism. It’s fairly well known that most of the first generation psychoanalysts, being Jewish, fled Europe with the rise of the Nazis and settled in America, especially in New York with its large Jewish population.

In America the questing, experimental, tentative, the Middle European and often quite bleak, pessimistic tone of Freud and his first followers, refugees from the land of Kafka and Musil, was converted into a positive, upbeat, we-can-fix-you procedure for the land of Walt Disney and Oprah Winfrey. You can achieve your dreams! You can be happy and healthy! You can have it all! Just sign up here for your starter course of psychotherapy at the very reasonable price of 25 bucks an hour and we’ll have you back on your feet and back in the office in no time.

So although Roazen pays lip service to Freud as discoverer of the unconscious blah blah, along with all the other stuff about libido, repression, transference and so on, it doesn’t really worry him. He doesn’t seem to take on board what is truly revolutionary about Freud which is that he destroyed the rationale of two and a half thousand years of philosophy, theology, legal and political theory which were all based on the notion that human beings have a capacity for objective reason.

No they don’t. We are terrified animals which, in the course of our infant development, develop a set of psychic defence mechanisms to mediate between the inner world of our raging drives/desires and the cold, brutal outside world which doesn’t give a damn about us. No wonder so many people are damaged and betray odd compulsions, obsessions and anxieties. It’s a very anxious position to be in!

But deeper and more subversive than that, Freud asserts that the rational mind isn’t a shining Greek god, isn’t a gleaming repository of reason and morality, but is made out of the same dark chaotic stuff as the unconscious. The so-called ego is just bits of the unconscious which are split off by the human organism, which can’t help itself developing strategies to try and cope with the ongoing frustration of nearly all its instinctual drives and fantasies.

This is a complete, radical and devastating break with the age-old tradition that all humans contain a fragment of the divine reason in their minds, are mostly capable of rational self-interest (as the economists ridiculously claim), of rational debate and political decisions (as political theorists absurdly claim). No. We are petrified animals subject to a bewildering variety of psychic mechanisms and strategies designed first and foremost to allow us to fulfil psychic wishes and desires, albeit often sublimated into socially acceptable forms.

Thus all the social labels and categories dished out by traditional psychology, ‘neurotic’, ‘obsessive’, ‘degenerate’ and so on, are all relative. We are all on the spectrums of weird behaviour. People don’t just have quirks and anomalies which are basically additions to a reliable core of common sense and reason. There is no common sense and reason. We are all made entirely out of quirks and weirdness. Freud hoped his therapy might, a little, ameliorate and lessen the quirks and weirdnesses which afflict all of us, which humans are, in fact, made of.


Credit

Freud and His Followers by Paul Roazen was published by Alfred Knopf in the USA in 1975, and by Allen Lane in the UK in 1976. References are to the 1979 Peregrine paperback edition.

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The Question of Lay Analysis by Sigmund Freud (1926)

Note: to avoid misunderstanding, I believe Freud is a figure of huge cultural and historical importance, and I sympathise with his project of trying to devise a completely secular psychology building on Darwinian premises. Many of his ideas about sexuality as a central motive force, about the role of the unconscious in every aspect of mental life, how repressing instinctual drives can lie behind certain types of mental illness, his development of the talking cure, these and numerous other ideas have become part of the culture and underlie the way many people live and think about themselves today. However, I strongly disapprove of Freud’s gender stereotyping of men and women, his systematic sexism, his occasional slurs against gays, lesbian or bisexuals and so on. Despite the revolutionary impact of his thought, Freud carried a lot of Victorian assumptions into his theory. He left a huge and complicated legacy which needs to be examined and picked through with care. My aim in these reviews is not to endorse his opinions but to summarise his writings, adding my own thoughts and comments as they arise.

***

Background

In 1926 the Viennese authorities began legal proceedings against Dr Theodor Reik, a non-medical psychoanalyst, under an old Austrian law against quackery, because he was practicing psychotherapy without a medical qualification. Freud wrote this pamphlet to clarify the underlying question of whether the practice of analytic therapy should be restricted to trained medical doctors.

Many first-generation analysts, themselves originally doctors by training, thought that psychoanalytic practice very much should be restricted to qualified physicians. But Freud’s answer was: No, it shouldn’t.

The book is cast in the form of a dialogue, with ‘An Impartial Person’ asking questions (which I highlight in italics) and Freud, in the first person, slowly, sensibly answering them.

The text comes in seven bite-size chapters and is written in a light-hearted style which I have copied in my own summary and comments.

1.

Freud outlines the kind of psychological symptoms which may take you to the doctor: a horrible sense of guilt, a compulsive need to perform obsessive actions, a fear of going outside or socialising, all sorts of phobias, sexual impotence, fear of women, frigidity, attachment to prostitutes or perversions, inability to concentrate or to stop the mind rambling along unconnected byways of its own.

You are referred to a psychoanalyst. What happens there? You talk, the analyst listens.

So it’s like a simple magical cure? Well, yes, except that it takes months, sometimes years of talking. So it’s like going to confession, then? No, because the most important part is that you are encouraged to say things you do not know. What?

2.

Before we go any further let’s explain a bit of theory. This account is not necessarily complete and the theory has changed and evolved into its present form over thirty years, but then this is Science not Holy Writ, so please bear in mind the things written here are contingent on new discoveries.

Science, as you know, is not a revelation; long after its beginnings it still lacks the attributes of definiteness, immutability and infallibility for which human thought longs so deeply.
(Freud Pelican Library volume 15, page 291)

Well now, all of us have moments when the mind slips off and wanders at will through a fantasy world which is very like the  mental world of some mentally ill people; and these are in dreams. Interpreting dreams is a key way of getting at the unconscious mind, although many people have picked up this idea from newspapers etc and distorted its application.

Anyway, let’s construct our mental picture of the mind. We are going to use spacial analogies, using metaphors of above, below, shallow, deep. Admittedly these don’t refer to actual positions in the mind: but it’s the best we can do and, after all, what do you expect? All scientific theories are a little rough at the beginning.

Well now, all of us are aware of a part of us mediating between our basic physical needs and the sometimes harsh realities of the outside world. Let’s call this mediating part of the mind the ‘I’ or, to use Latin, the ego. This is pretty much what we mean when we say ‘I’m hot’ or ‘I’m hungry’, reflecting the feelings of the conscious mind.

But behind this conscious assessment of what we feel, we often sense the presence of an enormous number of unexpressed feelings. Let’s call the place where these unexpressed feelings originate the ‘it’ or, in Latin, the id.

We propose that the ego is the layer of the mental apparatus (the id) which has been modified by the influence of the external world (of reality)…

For us the ego is something superficial and the id something deeper. The ego lies between reality and the id, which is what is truly mental. (volume 15, page 296)

Picture the ego as an organisation characterised by a focus on unity, trying to hold things together in the face of conflicting demands. By contrast, the id is all over the place; the multiplicity of urges which make up the id are each pursuing their separate agendas, in their own way, regardless of each other, of the ego or of outside reality.

You don’t believe this because you haven’t experienced it. Most of our trainees sit there thinking, Yeah, so what, big deal. Then they begin a training analysis and slowly the reality of this theory is demonstrated to them.

3.

Let’s look at the mind in another way, from a dynamic rather than a topographic perspective:

Instincts fill the id. All the energy in the id originates from them. Nor have the forces in the ego any other origin; they are derived from those in the id. What do these instincts want? Satisfaction – the establishment of the situation in which bodily needs can be extinguished. A lowering of the tension of need is felt by our organ of consciousness as pleasurable; an increase of it is soon felt as unpleasurable. (15:300)

Hence we say that mental activity operates under the rule of the Pleasure Principle. The id is continually pushing for satisfaction of all its instinctual drives – food, sex, booze, anger etc, literally the driving forces of the human animal.

The ego has to steer a ship driven by all these wild desires, avoiding all the snares and dangers of the real world. The ego observes the real world, learning how best to achieve satisfaction from it; and tries to rein in the drives of the id, keeping them on a tight rein until the moment is right.

The ego, then, operates under the Reality Principle. When things are going well, the ego and the id function together, because they are in fact made of the same stuff, mental energy. But:

A small living organism is a miserable, powerless thing in face of the overwhelming destructive might of the outside world. A primitive organism which hasn’t developed an ego-organisation is at the mercy of instinctual drives. It lives by the ‘blind’ satisfaction of its instinctual wishes and often perishes in consequence. The differentiation of an ego is above all a step towards self-preservation. (15:302)

If a desire brings the organism into peril which it, fortuitously, survives, the next time it approaches a similar situation it experiences a memory of the first event which is also a warning: it experiences this as anxiety. The ego will try and turn back the drive which is prompting the anxiety attack but can only repress it. Instinct will out. Roaming around within the crazy world of the id, the frustrated drive attaches itself to a more respectable colleague and emerges as a symptom. In a crazy distorted way, therefore, we see unconscious wishes which have been repressed for the survival of the organism emerge when our ego defences are low – hence our interest in those moments of low defence, during sleep in the form of dreams, in slips of the tongue and inexplicable amnesias, and in neurotic symptoms.

So the really serious mental cases I’ve heard about, the psychotics and the schizophrenics, with them maybe the ego didn’t even put up a fight but just went flying off with the id into its crazy world, into ‘a world of its own’?

Now you’re getting the hang of it. Nobody knows for sure, but that’s pretty much our theory.

Now I’m in a position to explain to you what psychoanalytic therapy is. We try to restore to the ego its autonomy; we try to restore its control over the id by bringing to light the repression of instinct which has driven the id to an unorthodox escape route i.e. created the patient’s symptoms.

Experience shows that the decisive repressions which lie behind most symptoms originally occurred in most patients’ childhood, when the ego was struggling to master its instinctual drives and finding its place in the outside world.

It should come as no surprise, then, that analysis takes the patient back to the earliest period of their life and uncovers memories which most of us would prefer to leave buried in the oblivion of childish amnesia.

The problem areas are identified by exploring the patient’s past, using dream interpretation and free association. As we approach the danger area the patient dries up – the associations and the memories stop. We have to teach the patient to overcome this resistance. We are educating the ego not to take refuge in the mental equivalent of ‘flight’, but to drag the memory, and the wish behind it, into the light of day. Once this is expressed, the patient is empowered to begin trying to overcome it.

Why, if it was impossible to face up to this experience back then, should the patient be able to handle the truth of his wishes now?

Because back then the patient was three-years-old and, although the terror was real and overwhelming to the infant at that age, to the adult mind whose ego-mechanisms are hugely more developed, the final revelation of what has been troubling  them all along often appears embarrassingly infantile.

The thing from which the patient’s childish ego fled in terror will often seem to their adult and strengthened ego no more than child’s play. (15:305)

4.

What about sex? I thought psychoanalysis was all about your sex life and surely only doctors who are entirely trustworthy and trained to a high level of dispassionateness have the integrity to be trusted with that kind of matter?

As to sex, yes, it has turned out to be the basis of so many of our patients’ problems that we are led to believe it plays a key role in mental life. But what, after all, would you expect? Just look at the importance of reproduction for animals

Insofar as we have evolved from the animal kingdom, of course we have inherited a strong sex drive; a drive which is not restricted, as it is in most animals, to certain seasons when they are ‘on heat’, but operates all the year round.

If you asked people to speak openly and with utter candour about all aspects of their lives’ wouldn’t you expect their sexual experiences, their sexual fears and fantasies, to crop up sooner or later.

All this seems to me simple and reasonable. That it has brought down on our heads all kinds of denunciations and accusations of immorality and pansexualism and obsession with sex, I attribute to the deeply neurotic and repressed nature of our civilization, which leads most people to reject and deny the truth about human nature.

Back to psychotherapy: So we return to memories of infancy to find the cause of the repressions which afflict the adult. And we find that most of those infant repressions are to do with sexuality.

You mean…?

Yes. Psychoanalysis’s greatest discovery has been the sexuality of children. People say we have desecrated the innocence of childhood. I say we are reporting what every nurse and many pediatricians have always known but been too afraid to put into words.

The sex life of a child is of course different from that of an adult. It passes through a long process of development during which it becomes involved with numerous component instincts with different aims, until at last it arrives at the seat of, and is ready at the service of, the grand goal of reproduction. But in such a long development there are bound to be hiccups.

For instance, the libido can become fixated at certain points, tied up with other instincts. Years later, when obstacles arise to normal sexual function, the libido may retreat to these earlier fixations, a process called regression.

The oddest thing is not that children have sexual feelings; when you really think about it, it would be odd if, as little animals, they didn’t have inklings of, or experiment with, the apparatus for the all-important task of reproduction to come.

The odd thing is that those feelings go into abeyance at about age 5 and are suppressed. Much is forgotten or loses its attraction during this period, the latency period. During the latency period the child builds up what we call reaction-formations, of disgust and shame, which combine with what it is told by parents to form a ‘morality’, something missing from the first five years as any parent knows and hard enough to instil into the older child.

This is the period when rules of behaviour, when ethics and morality, when right and wrong are instilled into the child who is repeatedly told that the simple gratification of its wishes (as in the early years) is ‘dirty’, ‘naughty’, ‘bad’ etc. From an evolutionary point of view you can see why the tribes who managed to do this to their young probably functioned better and survived.

We believe what happens is that the child needs a respite between the purely instinctual development of the early years, and the eruption of strength and renewed desires and lusts at puberty.

Civilization, therefore, is based on the effective repression of individual desires. A good citizen represses their desires effectively; a bad citizen either gratifies themself in an anti-social way, or falls prey to the kind of illness we began by looking at.

As to the content of those childhood feelings, consider the contents of fairy tales and mythology. There we see a persistent fear of the father. Kronos swallowed his children and castrated his father, Uranus. In his turn Kronos was himself emasculated by his son, Zeus, who he had tried to kill and who only triumphed through the help of his loving mother.

Think of the big bad wolf coming to eat you. Psychoanalysis says these are all projections of the primal fear of the huge father and that the most vivid way this terror can express itself, for a boy, is the fear that Daddy will chop off his penis. We call this the castration complex.

Maybe there is such a close correlation between the mental life of the child and the myths and stories of the earliest peoples because the child literally lives through the intellectual state of the primitive, rather as the embryo undergoes reptile or fish-like stages in its gestation in the womb.

However this may be, the essential fact about childhood sexuality is that it climaxes in the Oedipus Complex. The boy develops strong feelings for the mother, the girl for her father. You have to appreciate the vehemence of the love and the equal vehemence of the hate against the same-sex parent. The boy violently wishes to supersede the father, to replace him in his mother’s affections.

Eventually the Oedipus Complex is overcome, it disintegrates, it is resolved and the child lapses into the general amnesia of the latency period. But only rarely are all the stresses and strains associated with the Oedipus Complex in its full complexity totally mastered. And with the onset of puberty what hasn’t been properly sorted out returns to dominate the subject –  sometimes within the bounds of ‘normal’ behaviour, sometimes pushing the subject beyond these bounds into illness.

And the evidence for all this is?

  1. The records of earliest civilisations i.e. most mythologies include incestuous liaisons between father and daughter and mother and son. By the time we hear of them they have been repressed from everyday life and projected, culturally, onto gods and heroes who amount to psychological fantasy figures.
  2. The overwhelming testimony of adults under analysis.
  3. The analysis of children themselves down to the earliest years which we are now carrying out.

5.

So much for theory. This is what you need to know as an analyst, but now come the skills of technique.

You must listen in an unprejudiced way to everything the patient says. Nothing is too trivial. Everything has meaning. But the meaning isn’t clear. It has been distorted, by time, by the telling, but above all by the censoring processes of the ego.

Everything – memories, dreams, free associations – require skillful interpretation. This interpretation, of course, may be influenced by your personality. So you need to undergo a thorough analysis yourself to bring all your own neuroses to the surface, to transform you as much as possible into the ideal interpreter.

There is a method and there are the lessons of symbolisation we have built up since psychoanalysis emerged. But there is no denying it has a strong subjective element, too. How could it be otherwise in psychological treatment. Even doctors have to listen carefully and interpret what the patient is telling them.

Doctors are often wrong because they are taught about the body and modern pharmacology but fail to listen. Analysts have this advantage over doctors, that their entire training is in how to listen, how to suspend disbelief and listen to the hints and tips given out by the unconscious mind.

You have to have the insight and the tact to know exactly when to intervene in the analysis to put forward your interpretation. Too soon and you arouse resistance and defiance; too late and you have missed the moment.

And as if that wasn’t hard enough, when you finally tell the conscious ego of the patient what’s wrong with him – he denies it. All his wishes for a cure are thrown out of the window while he absolutely denies all your interpretation. Because every neurosis represents a flight from reality, a flight into illness, it is not easily to be given up.

For many patients this is because being ill has positive advantages. It brings them sympathy, allows them to avoid onerous duties (like going to the Front during the War), enables them to impose on their families or on friends or loved ones. Such basic strategies are hard to overthrow.

But there is another more complicated reason. There is something I omitted from our topographical description of the mind:

Within the ego itself a particular agency has become differentiated, which we name the superego. This superego occupies a special position between the ego and the id. It belongs to the ego and shares its high degree of psychical organisation; but it has a particularly intimate connection with the id. It is in fact a precipitate of the first object-cathexes of the id and is the heir to the Oedipus Complex after its demise.

This superego can confront the ego and treat it like an object and it often treats it very harshly. It is as important for the ego to remain on good terms with the superego as with the id. Estrangements between the superego and the ego are of great significance in mental life.

The superego is the vehicle of the phenomenon we call conscience. Mental health depends on the superego being developed i.e. on it being sufficiently impersonal [representing the impersonal values and ethics of society]. And that is precisely what it is not in neurotics, whose Oedipus Complex has not passed through the correct process of transformation. Their superego still confronts their ego as a strict father confronts a child; and their morality behaves in a primitive fashion, in that the ego gets punished by the superego. Mental illness is employed as the means of this self- punishment. (15:324)

Guilt is the affective malaise generated by the disobedient ego when confronted with the prospect of the imperfectly developed, over-punitive superego. Effective therapy is the overcoming of the patient’s resistances i.e. his attachment to illness as a defence. There are various mechanisms of resistance (anger, denial, partial concession) and an all-consuming guilt is the resistance of a defective superego. The overcoming of these resistances requires much more time and ingenuity than the relatively simple act of interpretation. Maybe you can see now why analysis takes so long. It is very far from being a ‘magical cure’ as you initially suggested.

Oh and one more thing. Just as you think you have finished extracting the psychic material, just when you have made your careful interpretation, just when you have wrestled with the various forms of resistance – the patient falls in love with you. It is very embarrassing.

Surely that is a help, though, because you will cooperate with someone you love and trust?

At first it seems like that, but slowly the love becomes more possessive, more demanding and reveals the other side of the coin, a fierce jealousy and finally a rage and anger and defiance. It drives away all other mental activity. In other words ,it is a very sophisticated form of resistance.

This is what we call transference, the projection of the patient’s early loves and jealousies onto the analyst which the analyst – the detached impartial observer – never prompted or merited. Instead it slowly becomes clear that in the transference the patient is acting out a fantasy; he or she is re-enacting the scene of the real or imagined love and hatred which lie at the root of the neurosis.

Thus transference can be co-opted as part of the cure as the patient is brought to see that he is reliving the past, grappling with his old demons.

So who is the patient really in love with, then?

The parent of the opposite sex. Nine times out of ten the patient is reliving scenes from the early, primitive period of his life when his sexuality was rampant and uncontrolled, when he was infatuated with and terrified by his parents, and projecting onto them his own rages or lusts. Thus we come full circle. You see how we have derived the theory I outlined above and you realise why it is necessary to know the theory when dealing with the practicalities of therapy.

6.

[Now we come to the nub of Freud’s argument for the lay practice of analysis.]

Now, with a correct understanding of what analysis involves it is clear that many of the requirements for it can quite easily be found among exceptional men in society who are prepared to undergo the rigorous training. By contrast, medical doctors are taught about the body as if it were a machine. When it breaks down they are instructed in either the physical techniques or the pills to fix it.

Five years of imbibing this attitude and you are completely the wrong person to undertake the delicate hermeneutics required of analysis.

What’s more, analysis has been greeted by the medical profession with howls of derision and has failed to be incorporated into any medical college’s curriculum. Doctors, being taught in that sceptical atmosphere, are just about the worst kind of people who could practice analysis.

No. Any laws restricting the practice of analysis to qualified doctors would prevent many perfect candidates taking it up, and restrict it to the people least likely by inclination and training to submit to yet another long course of specialist training.

What many doctors have already tried to do as individuals (shorten the analysis period or water down its premises by rejecting the sexual theories) would then be carried out wholesale by the medical profession and all the hard-won wisdom of Freud and his followers be reduced to an ineffective appendage of traditional psychology.

7.

But don’t many of the medical men in your own movement actually want analysis to be restricted to qualified medics to prevent it falling into the hands of quacks?

That is true and I’m not sure why. But for doctors only to be allowed to practise analysis would add a couple of years to the medical curriculum, which is already too long. It is true there are many possible somatic causes of neurosis and it would be as well to be aware of these. But in any case, every patient should be referred before analysis to a medical doctor in order to ensure that they are physically healthy; and, if symptoms arise in analysis, the patient should be referred back again to a doctor.

Wouldn’t it be easier if the analyst was also a doctor and could do this in one?

No, worse. For an analyst to physically examine a patient whom he is analysing is courting disaster. And again, the analyst’s training is not a small adjunct to a medical training; it actually – ideally – involves whole different areas: the history of civilization, ancient history and mythology, the science of literature. Wouldn’t it be better for analysts to be allowed to concentrate on what they require and for doctors to learn what they require and not to muddle up the two?

Freud has two last reasons for keeping analysis open to the public:

1. Rather than be swallowed up to become a footnote in medical textbooks ‘alongside hypnotism, autosuggestion and moral persuasion’, psychoanalysis is destined “to become indispensable to all the sciences which are concerned with the evolution of human civilisation and its major institutions such as art, religion and the social order.” (15:351)

2. Freud concludes with a vision of the future in which an army of analysts in the name of Science cures Humanity of all its neuroses and prepares the way for the millennium! (Compare Oskar Pfister’s critique of Freud’s scientific utopianism in his reply to Freud, Illusion of a Future).

Postscript (1927)

After an interval of discussion within the Psychoanalytic Movement itself, Freud rounded up the debate with this postscript to the main text. For him what matters is not whether an analyst is qualified as a doctor, but whether he is qualified to be an analyst. This requires a training very different from medical training, overlapping in some places but incorporating much sociology, psychology, history of civilization, of myths and religions etc.

Freud gives a brief review of his own career: though qualified as a doctor he never really wanted to be one and it was this distance from medical orthodoxy which gave him the intellectual freedom to discover psychoanalysis:

I became a doctor through being compelled to deviate from my original purpose; and the triumph of my life lies in my having, after a long and roundabout journey, found my way back to my earliest path… In my youth I felt an overpowering need to understand something of the riddles of the world in which we live and perhaps even to contribute something to their solution. (15:358)

Although a medical training at the moment is probably the best preparation for becoming an analyst, Freud looks forward to a time when specialised training institutes dedicated to training analysts will accept people from all walks of life.

Thoughts

1. And this is what happened. Institutes of Psychoanalysis were, as Freud hoped, established in all major Western countries before Freud’s death. But for historian of science Frank Sulloway, it was a fatal moment when analysis set up institutes outside the structure of universities, with their 1,000 yearlong traditions of testing, debating and verification.

Freud wanted to save psychoanalysis from being watered down by the establishment. For Sulloway this short-term gain led to the longer-term dwindling and decline of psychoanalysis as a discipline, which we’re now seeing.

2. Freud’s overview of his theory is compelling, or at least very clear. But the most notable thing comes towards the end when he makes the frank admission that he was never very interested in medicine, and even in psychology, as such. He always wanted to investigate and solve the big cultural, religious and literary puzzles.

The quote about him having to make a detour away from his original interest and only after ‘a long and roundabout journey’ return to his first love, is repeated in all the summaries of him you find in humanities subjects, especially art and literature studies, and candidly and openly explains why in his last decade he devoted ever more energy to writing about religion, civilisation, the origin of society and so on, sometimes persuasively, but often, as in Totem and Taboo and Mose and Monotheism, using scholarship which has now been completely disproved, and with a crankiness which reflects very badly back on his claims for psychoanalysis to be a scientific objective discipline.


Credit

The history of the translation of Freud’s many works into English forms a complicated subject in its own right. The Question of Lay Analysis was first translated into English in 1959 as part of The Standard Edition of the Complete Psychological Works of Sigmund Freud. Quotes in this review are from the version included in Volume 15 of the Pelican Freud Library, ‘Historical  and Expository Works on Psychoanalysis’, published by Pelican Books in 1986.

More Freud reviews

The Affirmation by Christopher Priest (1981)

I was explicable only on paper, only by fictionalisation… (p.112)

Priest is a boring, dull and flat writer of prose, and entire passages of this book – like the description of the home life of the narrator’s sister Felicity and her husband James and their two children and their dog Jasper in a nice middle-class estate on the edge of Sheffield; or the description of the flat in Kentish Town the narrator shares with his neurotic girlfriend, Gracia – are of a stupefying, mind-numbing dullness.

Nonetheless, as with the previous book of his I’ve just read, Inverted World, it’s worth sticking with it because the very mundaneness of his prose has an insidious effect on the imagination. Precisely because his descriptions of early 1980s England are so unloveably flat and prosaic, it means that when the narrative begins to take a strange turn, you are imperceptibly led along with it.

Peter Sinclair

In a way the story is simple: Peter Sinclair (boring humdrum name) is 29, lives in London with his sexy but neurotic girlfriend, Gracia, when his life falls apart. His father dies. He is made redundant and can’t find a new job. And after a bitter row at the corner of Marylebone Road and Baker Street Gracia walks out of his life.

By chance he bumps into a middle-aged friend of his parents who happens to mention that he and his wife have bought a holiday cottage on the border of Herefordshire and Wales. One thing leads to another and they agree that Peter can get away from it all and go and live in the cottage rent-free, on the understanding that he renovates it, does the garden and interior, supervises rewiring, replastering and so on.

From the first sentence Sinclair has fretted about how to write his story and this turns out to be the theme, the subject of the novel: writing. My son read this book and recommended it to me. He’s a) young b) doing a science degree so doesn’t read much fiction whereas I am a) old b) have spent a lifetime reading fiction, and so am all-too-familiar with books about writers writing books about writers writing books about writing.

Take the Nathan Zuckerman novels of Philip Roth, who also appears in some of his fictions as a character. As does ‘Martin Amis’ in some of Amis’s novels. And so on.

Anyway, it occurs to Sinclair that, to really understand what’s going on in his life, he needs to write it all down. He does a long first draft and then, as writers are prone to do, picks it up and starts to reread it and realises it’s all wrong.

He has another stab, buying a typewriter and writing out a more systematic account of his entire life, in between comprehensively doing up the cottage he’s staying in. He is particularly proud of completely redecorating the main downstairs room, cleaning, plastering and painting it a lovely white colour. Here he sits at a table and chair in the middle of the white room, with the french windows open every day of that long summer, smelling the scent of the honeysuckle he’s planted and writing a long, thorough account of his life to date.

One day, in the middle of a rainstorm, Sinclair’s grown-up sister, Felicity, arrives, driving her swanky Volvo, bangs on the door and demands to be let in. Because he’s been telling us about his life we by this stage know that Sinclair harbours a resentment of his sister for being a few years older than him and always playing the wise, sensible older role.

But it is quite a shock to the reader to see the cottage through Felicity’s eyes and to discover that… Peter has not decorated the living room, and is not living in a rural idyll. Felicity furiously points out that he has done no decorating, the walls are peeling and lined with mould, the garden is an overgrown jungle, the kitchen is a squalid dump of unwashed dishes and rotting food, she recoils in horror from the toilet which is still blocked as it was when Sinclair arrives, and when she opens the door into the room he’s using as a bedroom she finds just a filthy sleeping bag on the floor surrounded by well-used porn mags. And then there’s the bottles of booze, Scores of empty whiskey and wine bottles. He’s obviously been completely out of control, living in squalor, drunk all the time, wanking himself to sleep in his crappy dirty sleeping bag.

This all comes as a shock to the reader because we had been lulled by Sinclair’s account of living in a rural paradise, of being clean, calm, disciplined and efficient.

Sinclair resents Felicity seeing and describing the reality of the cottage partly because it is humiliating, but mostly because it interferes with the mental reality he has created. He doesn’t complain that she’s pointing out the squalid reality. He whines that she just doesn’t see it like he does.

So we are introduced to the fact that Sinclair is not just what the English teachers call ‘an unreliable narrator’ but is a full-blown fantasist, and this prepares us for what happens next.

In the ‘real’ world Felicity insists on loading all Sinclair’s stuff into her big Volvo and driving him back to her happy middle-class family home on the outskirts of Sheffield, where they bathe and shave him, wash all his clothes and he has to settle into a respectable routine, not least because of the presence of the two school-age children.

But while he’s here he conceives a new notion, a way of taking writing the story of his life to a new level. What the prosaic accounts he’s written so far lack is the roundedness of story. Now he is inspired to write his life, but as a fantasy.

The Dream Archipelago

And so next thing we know we are watching Sinclair consciously set out to create an alternative world (p,27). In this world there is a large island named Faiandland whose capital city is Jethra. To the south of Faiandland lies a vast archipelago of smaller islands stretching out into the Tropics – the Dream Archipelago – which the inhabitants of staid, conservative Faiandland regard as places of escape and exotic adventure.

The protagonist is still named Peter Sinclair and, in this alternative reality, he has just won the lottery. Why? Because the prize is a trip to the island of Collago where they carry out a process called athanasia which means – you will live forever!

With many misgivings the narrator collects the paperwork proving he’s a prizewinner, including tickets for ships heading south, and heads south, giving us increasingly detailed descriptions of the cruise ship he’s on, all the other passengers, the cabin and eating arrangements and so on. The descriptions of his otherworld are much more enjoyable than those of rainy Sheffield or ‘London’s damp awfulness’ (p.206) and so, easily swayable as I am, I much preferred Sinclair’s fantasy story.

The final stop for this ship is the port of Muriseay, where Sinclair has to check in with the officials of the lottery. To cut a long story short, he falls in love with the woman administrator, Seri, a warm, clever and passionate woman of the south.

Seri v. Gracia

By this stage the novel’s effects have become complex, because Priest carefully alternates descriptions of the time he spends in fantasy land with Seri, with the much tougher time he has with Gracia, who one day re-enters his life, appearing unexpectedly in a car park for a visitor attraction near Sheffield (the caves at Castleton) in a meeting which turns out to have been set up by his sister, Felicity – ever-scheming to try and get Peter to grow up and accept his responsibilities.

Surprisingly, Gracia invites him to move in with her in London, so he does and we have some more flat and boring descriptions of the tube and buses and polluted streets. BUT, unsurprisingly, more of the narrative is devoted to the fantasy world in which Peter, now hooked up with Seri, continues his journey to the island where the athanasia procedure will be carried out.

And now, over half way through, Seri reveals a big thing about the athanasia procedure which is – that it consists of refreshing every cell in the body, refreshing and repairing and treating in some way so that they will always refresh and renew and never grow old, but the catch is – Amnesia. Your memory is wiped.

The way they get round this is get winners to complete a massive questionnaire detailing every single aspect of their past lives. Then, when the treatment is done and the patient has a blank mind, the therapist which they’re each assigned, uses the questionnaire answers to rebuild their memory from scratch.

The post-amnesia patient becomes what they’ve written.

This is a clever, logical extension of the whole idea of trying to find out who you are by writing an account of your life which the novel began with and you can see why casting it in the science fiction genre allows for this more absolutist treatment of the theme of writing and reality.

But Sinclair points out that he has already written the story of his life – the 200-page manuscript he’s been carting around with him in his bag. So the sci-fi setting is going allow to Sinclair to really test the premise that an autobiographical account can contain everything which is important about a person…

Alternate realities

The novel moves forward on two tracks: in some passages Peter is with Gracia in rainy London, trying to keep their relationship afloat; but in others – by far the more interesting passages (and this might be part of Priest’s intention – to show how beguiling lies are more attractive than dull reality) – he arrives at the island of Collago, is checked into the clinic and then has last-minute doubts, doubts about truth and reality, fiction and lies, and the merits of eternal life versus a normal fixed-term life, which he discusses in some detail with his partner Seri, and with a new character, the middle-aged nurse-therapist assigned to him, Lareen Dobey.

The decision is clinched when a full medical check-up reveals that Sinclair has a dangerous aneurysm in the brain which might blow at any moment and kill him. There follow more debates about mortality and eternal life at the end of which, inevitably, he takes the treatment.

Things get more knotty because all these scenes in fantasyworld are interspersed with the ‘reality’ of his relationship with Gracia which, once again, slowly grinds onto the rocks. This is because, in scenes which become increasingly spooky, Sinclair has started to see the characters from his fantasyworld in the ‘real’ world.

In one well-imagined scene, Sinclair thinks himself in a sunny tropical café watching the trams of Collago go by and having an increasingly heated argument with Seri while – like a TV flickering between channels – the prose is suddenly interrupted by ‘real’ descriptions of shabby London and the waiter – slick and graceful in fantasyland – in Londonville asks him please to leave – we realise that Peter is a schizophrenic, sitting by himself in a shabby transport café, shouting to his invisible friends (p.173).

In the most vivid example of fantasy invading ‘reality’ we see Sinclair  in bed with Gracia and actually having sex, when his mind is invaded by images of Seri, who favours a different sexual position, and thoughts about her interfere with his sexual performance in this world to such an extent that Gracia notices and it upsets her (p.164).

Gracia’s suicide attempt

Then, right on the brink of his fantasy self undergoing to athanasia treatment in the fantasy world, Sinclair returns to the flat one day and discovers Gracia has made a really serious attempt to kill herself, slashing her wrists so that  arterial blood has spattered all over the carpet, bed and walls (p.175). He sees the much-treasured manuscript beside the bed and covered with blood. She has read it and come across the character Seri and the prolonged passionate declarations of love for Seri which it contains.

Sinclair applies a tourniquet and calls an ambulance, follows on to hospital and answers questions from an over-worked social worker.

But back in the fantasy, Sinclair has the treatment and – a new chapter opens with a persuasive first-person account of what it feels like to have no memory of anything. He has to relearn language, speech, English grammar and vocabulary, slowly make sense of sounds, then music, of food then taste, rediscovers his bodily functions, the joy of farting, peeing and pooing, quickly discovers masturbation until Seri takes this over for him (the novel is frankly candid about sex all the way through – ‘She sucked me until I was ready, and then a little longer’, p.164: note that even when he’s writing about sex, Priest manages to be flat and lifeless).

And yet he has doubts. Even as Lareen and Seri take him through his biography, as written in the famous manuscript, he realises there is some kind of discrepancy. They tell him he grew up in a city called Jethra on the island of Faiandland but, just now and then, Seri slips and mentions another place, a place called ‘London’ in a country called ‘England’. And that his sister isn’t named Kalya but something called ‘Felicity’.

So the reader is aware that, within the fantasy world Sinclair has created, the fictional character of Peter Sinclair who has his mind is erased, is being made accidentally aware of another world – from his perspective an unreal fantasy world – containing ‘London’ and ‘England’.

By now you can see how the flat, mundane, colourless nature of Priest’s prose which, to begin with, you’re tempted to think of as a flaw or drawback – actually emerges as a merit, a strength. Something about the very boringness of the way he describes London, Sheffield or Jethra or Collagio, paradoxically makes them appear more ‘real’, mundane and believable – and so the increasing contortions and paradoxes he submits both to, all the more persuasive and absorbing.

All this has happened by page 200 of this 250-page book and so I was really intrigued to find out how these different stories were going to pan out.

The final straight

What happens is that Sinclair realises the women – Seri and Lareen – are teaching him about  his old life from the manuscript, but tactfully changing the names from ‘London’ and ‘Felicity’ to ‘Jethra’ and ‘Kalia’, the names they are familiar with in their world. But Sinclair grows impatient, demands to see the manuscript and, when he reads about his Uncle Billy – who features early in young Peter’s life, as a glamorous and mercurial presence, with a foul-smelling pipe and a fast car – when he reads this passage,written by his real-world counterpart, suddenly it tugs Sinclair out of his athanasia. Suddenly he remembers Gracia and her suicide attempt. But this mind – conscious of the ‘real’ world – is still stuck in fantasy world.

He sneaks out of the clinic leaving Seri behind, sleeping, makes his way down into the port and next morning catches the first ferry to a nearby island, and then on, and on again, putting distance between himself and the clinic and Lareen and Seri. Somehow he must get back to ‘London’, to the city which contains a Baker Street and Marylebone Road and where Gracia is lying in hospital attached to life-support tubes.

The final fifty pages are thoroughly mixed up with Sinclair switching between fantasy and London almost at will. In the most haunting sequence he sees Seri going down into the Underground at Marylebone Road and then follows/chases her, as she changes platform and train, continually ahead of him, leaving the  tube at Chalfont and Latimer, following her through the streets and out into fields – she, like a white-bloused ghost – always one step ahead as Peter finally gives up and lies down on the cold night field but then…

He discovers he is looking down a sloping headland to the sea, and the islands of the Dream Archipelago stretching out ahead of him. He continues down the sloping headland to the beach where he finds a warm cove and sleeps for the night. When he wakes in the morning there is a neat pile of clean clothes next to him and Seri is swimming in the sea. She comes out of the sea, up the beach and lies down next to him. They make love. All is well.

The travel by ferry through more islands at an increasingly feverish pace but all the time he knows he must go back to London and confront the real him and the real Gracia and, in another vivid and quietly terrifying passage, he finally does shake off Seri and her world and reappear in London and catch the train to Kentish Town and finds himself outside their flat and looks down into the basement window and sees Gracia laughing with another woman, waits till she’s left, and then tentatively lets himself in with his ld key.

She is in the shower and is horrified to see him when she emerges, and they have a cold and distanced conversation, slowly getting to know each other again… until Sinclair insists on reading her the manuscript, to tell her how he really feels, to make her see what it’s all really about… at which he finally forces from Gracia the agonised accusation that there’s nothing there… the wretched manuscript which he has dragged through two different worlds and all versions of his story is blank…  (p.227) just like the beautiful white room at the country cottage turned out to be derelict and peeling…

Even the existence of the manuscript on which so much time and energy has been lavished is here, right at the end, thrown into doubt. When Gracia points out that Sinclair is filthy and unwashed, we glimpse the real reality… that all the time he was fantasising about the islands so powerfully and convincingly, he has in fact been sleeping rough in the muddy countryside outside London…

His delusions reduce Gracia to panic and tears and we see how this must have been the pattern of their relationship: that it is his mental illness which makes any relationship untenable and pushed her over the edge last time. Now she rings her friend, Steve, and says she needs to come round and stay, makes her apologies to Sinclair and leaves him alone in the flat, sitting on the bed, pondering…

Till he packs all his clothes in a hold-all, along with the manuscript and sets off through the night-time streets of Kentish Town, finally huddling in a shop window till he realises he must find his purpose among the islands and… stands up and strides purposefully off through the streets of London, a new reality rippling out from his mind, the smell and the sounds and the feel of the tropical islands almost within reach…

Conclusion

The book breaks off in mid-sentence, just – as, the author has emphasised time and time again – his manuscript does – obviously implicating the novel itself in the same process of incompletion, delusion and self-deception which his precious manuscript so patently does to Peter.

Three thoughts:

1. Priest’s novels really are slow-burners. He has one or two big ideas and he follows them through with a kind of quiet, slow, unflashy thoroughness which ends up persuading the reader of them, entirely, which become completely hypnotic.

2. My girlfriend’s best friend’s brother, and mother, were diagnosed schizophrenics. When I met them, over a period of time, especially when the (grown-up) brother came to stay for weekends, I realised how deeply damaged really mentally ill people are. The description of Peter’s illness and fantasies are amazingly well-wrought but, at the end of the day, felt far too neat and shapely to bear any resemblance to the mental illness I’ve met, which his utterly lost, bewildered and terrified. Peter is, at almost all times, calm and rational in his delusions, as calm and lucid and pedantic in his English prose as his author. Thus it is a terrifyingly intense novel but I’m not sure how much, if any, resemblance it bears to actual schizophrenia.

3. Despite appearing to be about lots of to her things, in the end the novel rotates round and round the protagonist’s relationship with the ill-fated Gracia and, especially in the final scenes when Peter arrives back at her flat after sleeping rough, and sees how happy she is, new haircut, place done up and tidy, laughing with the social worker before the latter leaves.. and then quickly descends into stressed anxiety and finally tears of misery as it becomes clear that Peter is no better… well, it made me consider the vast amount of crap which women put up with in their more or less deranged, obsessive, and unhealthy menfolk.

Why?


Related links

Other science fiction reviews

Late Victorian
1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1900s
1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1910s
1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1920s
1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, where they discover…

1930s
1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years – surely the most sweeping vista of any science fiction book
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Oxford academic Ransom and take him in their spherical spaceship to Malacandra, as the natives call the planet Mars

1940s
1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950s
1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence, powered by ‘spindizzy’ technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them until one fireman, Guy Montag, rebels
1953 The Demolished Man by Alfred Bester – a breathless novel set in a 24th century New York populated by telepaths and describing the mental collapse of corporate mogul Ben Reich who starts by murdering his rival Craye D’Courtney and becomes progressively more psychotic as he is pursued by telepathic detective, Lincoln Powell
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
Some problems with Isaac Asimov’s science fiction
1956 They Shall Have Stars by James Blish – explains the invention, in the near future, of i) the anti-death drugs and ii) the spindizzy technology which allow the human race to colonise the galaxy
1956 The Stars My Destination by Alfred Bester – a fast-paced phantasmagoria set in the 25th century where humans can teleport, a terrifying new weapon has been invented, and tattooed hard-man, Gulliver Foyle, is looking for revenge
1959 The Triumph of Time by James Blish – concluding novel of Blish’s ‘Okie’ tetralogy in which mayor of New York John Amalfi and his friends are present at the end of the universe

1960s
1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard space-travelling New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1966 Rocannon’s World by Ursula Le Guin – Le Guin’s first novel, a ‘planetary romance’ or ‘science fantasy’ set on Fomalhaut II where ethnographer and ‘starlord’ Gaverel Rocannon rides winged tigers and meets all manner of bizarre foes in his quest to track down the aliens who destroyed his spaceship and killed his colleagues, aided by sword-wielding Lord Mogien and a telepathic Fian
1966 Planet of Exile by Ursula Le Guin – both the ‘farborn’ colonists of planet Werel, and the surrounding tribespeople, the Tevarans, must unite to fight off the marauding Gaal who are migrating south as the planet enters its deep long winter – not a good moment for the farborn leader, Jakob Agat Alterra, to fall in love with Rolery, the beautiful, golden-eyed daughter of the Tevaran chief
1967 City of Illusions by Ursula Le Guin – an unnamed humanoid with yellow cat’s eyes stumbles out of the great Eastern Forest which covers America thousands of years in the future when the human race has been reduced to a pitiful handful of suspicious rednecks or savages living in remote settlements. He is discovered and nursed back to health by a relatively benign commune but then decides he must make his way West in an epic trek across the continent to the fabled city of Es Toch where he will discover his true identity and mankind’s true history
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into a galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped ‘andys’ – earning enough to buy mechanical animals, since all real animals died long ago
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after they are involved in an explosion on the moon
1969 The Left Hand of Darkness by Ursula Le Guin – an envoy from the Ekumen or federation of advanced planets – Genly Ai – is sent to the planet Gethen to persuade its inhabitants to join the federation, but the focus of the book is a mind-expanding exploration of the hermaphroditism of Gethen’s inhabitants, as Genly is forced to undertake a gruelling trek across the planet’s frozen north with the disgraced native lord, Estraven, during which they develop a cross-species respect and, eventually, a kind of love

1970s
1970 Tau Zero by Poul Anderson – spaceship Leonora Christine leaves earth with a crew of fifty to discover if humans can colonise any of the planets orbiting the star Beta Virginis, but when its deceleration engines are damaged, the crew realise they need to exit the galaxy altogether in order to find space with low enough radiation to fix the engines – and then a series of unfortunate events mean they find themselves forced to accelerate faster and faster, effectively travelling forwards through time as well as space until they witness the end of the entire universe – one of the most thrilling sci-fi books I’ve ever read
1971 The Lathe of Heaven by Ursula Le Guin – thirty years in the future (in 2002) America is an overpopulated environmental catastrophe zone where meek and unassuming George Orr discovers that is dreams can alter reality, changing history at will. He comes under the control of visionary neuro-scientist, Dr Haber, who sets about using George’s powers to alter the world for the better with unanticipated and disastrous consequences
1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic, leading to harum scarum escapades in disaster-stricken London
1972 The Word for World Is Forest by Ursula Le Guin – novella set on the planet Athshe describing its brutal colonisation by exploitative Terrans (who call it ‘New Tahiti’) and the resistance of the metre-tall, furry, native population of Athsheans, with their culture of dreamtime and singing
1972 The Fifth Head of Cerberus by Gene Wolfe – a mind-boggling trio of novellas set on a pair of planets 20 light years away, the stories revolve around the puzzle of whether the supposedly human colonists are, in fact, the descendants of the planets’ shapeshifting aboriginal inhabitants who murdered the first earth colonists and took their places so effectively that they have forgotten the fact and think themselves genuinely human
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre-long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it in one of the most haunting and evocative novels of this type ever written
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?
1974 The Dispossessed by Ursula Le Guin – in the future and 11 light years from earth, the physicist Shevek travels from the barren, communal, anarchist world of Anarres to its consumer capitalist cousin, Urras, with a message of brotherhood and a revolutionary new discovery which will change everything
1974 Inverted World by Christopher Priest – vivid description of a city on a distant planet which must move forwards on railway tracks constructed by the secretive ‘guilds’ in order not to fall behind the mysterious ‘optimum’ and avoid the fate of being obliterated by the planet’s bizarre lateral distorting, a vivid and disturbing narrative right up until the shock revelation of the last few pages

1980s
1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the ‘Golden Era’ of the genre, basically the 1950s
1981 The Affirmation by Christopher Priest – an extraordinarily vivid description of a schizophrenic young man living in London who, to protect against the trauma of his actua life (father died, made redundant, girlfriend committed suicide) invents a fantasy world, the Dream Archipelago, and how it takes over his ‘real’ life
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1984 Neuromancer by William Gibson – Gibson’s stunning debut novel which establishes the ‘Sprawl’ universe, in which burnt-out cyberspace cowboy, Case, is lured by ex-hooker Molly into a mission led by ex-army colonel Armitage to penetrate the secretive corporation, Tessier-Ashpool, at the bidding of the vast and powerful artificial intelligence, Wintermute
1986 Burning Chrome by William Gibson – ten short stories, three or four set in Gibson’s ‘Sprawl’ universe, the others ranging across sci-fi possibilities, from a kind of horror story to one about a failing Russian space station
1986 Count Zero by William Gibson – second in the ‘Sprawl trilogy’
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa
1988 Mona Lisa Overdrive by William Gibson – third of Gibson’s ‘Sprawl’ trilogy in which street-kid Mona is sold by her pimp to crooks who give her plastic surgery to make her look like global simstim star Angie Marshall, who they plan to kidnap but is herself on a quest to find her missing boyfriend, Bobby Newmark, one-time Count Zero; while the daughter of a Japanese gangster who’s sent her to London for safekeeping is abducted by Molly Millions, a lead character in Neuromancer

1990s
1990 The Difference Engine by William Gibson and Bruce Sterling – in an alternative version of history, Charles Babbage’s early computer, instead of being left as a paper theory, was actually built, drastically changing British society, so that by 1855 it is led by a party of industrialists and scientists who use databases and secret police to keep the population suppressed

Breakfast of Champions by Kurt Vonnegut (1973)

Breakfast of Champions is longer than the average Vonnegut novel at 270 pages in an old Panther paperback edition I have.

It’s experimental in several ways. Each paragraph is introduced with an arrow → making them seem more like disconnected apothegms than part of a consecutive prose text, and sometimes the paragraphs reduce to totally disconnected sentences. More like reading Nietzsche than a novel.

Then there’s the author’s amateurish but quite appealing drawings, at least one every two pages, sometimes two on a page, squeezing the prose out, like in a children’s book. I counted 119 of them. Here’s an example.

Page from Breakfast of Champions

And another one.

Goodbye Blue Monday by Kurt Vonnegut

It took Vonnegut a long four years to grind out Breakfast of Champions and several times he abandoned it. It had poor reviews and in later life he gave it a low rating among his works. But I like it. I think it demonstrates two of his leading characteristics.

1. It is chatty. It is like listening to an interesting guy who’s knocked about the world a bit, telling you funny anecdotes – about pornography, explaining how we’re all actually machines, leaning forward to impress on you that war is wrong, and so on.

2. And it is roomy. Having established this chatty, informal persona, Vonnegut can casually rope just about any subjects he wants into the so-called ‘story’.

For example, out of nowhere in particular comes this paragraph:

The Governor of New York, Nelson Rockefeller, shook Trout’s hand in a Cohoes grocery story one time. Trout had no idea who he was. As a science-fiction writer, he should have been flabbergasted to come so close to such a man. Rockefeller wasn’t merely Governor. Because of the peculiar laws in that part of the planet, Rockefeller was allowed to own vast areas of Earth’s surface, and the petroleum and other valuable minerals underneath the surface, as well. He owned or controlled more of the planet than many nations. This had been his destiny since infancy. He had been born into that cockamamie proprietorship.
‘How’s it going, fella?’ Governor Rockefeller asked him.
‘About the same,’ said Kilgore Trout.

That is a complete ‘section’, that’s all we hear about Governor Rockefeller. On the face of it this is some kind of satire against obscene wealth – the kind of stoned oppositionism which made Vonnegut such a hero of the counterculture and 1970s students. What I like about it though is its irrelevance. Its irreverent irrelevance. Its insouciance. He tells a story. Nothing much happened. It was a thing. OK. So long.

As to ‘plot’, well, the story follows events in the lives of two American men, Kilgore Trout, the failed author of hundreds of science fiction novels who we met a few years back in Slaughterhouse-Five and who appears in about five other Vonnegut novels; and Dwayne Hoover,  a Pontiac car dealer in the fictional town of Midland City, Ohio, who is on the brink of a nervous breakdown. The plot comes to a climax with them both meeting, by accident in a bar, and Trout’s presence being the thing which topples Hoover into his psychotic episode (beating up a bunch of people in the bar, his mistress and a couple of cops before being overpowered and taken to gaol).

Both characters contain elements of self-portraiture: Trout since Vonnegut himself struggled a) in his early, poor days against indifference and bad reviews, then b) when he was famous, against writer’s block; and Hoover since Vonnegut (apparently) suffered lifelong from depression, was on anti-depression medication and tried to commit suicide at least once. It is relevant that Vonnegut’s own mother committed suicide by an overdose of sleeping pills when he was 21 – not least because he tells us as much in chapter 17.

‘This is a very bad book you’re writing,’ I said to myself behind my leaks.
‘I know,’ I said.
‘You’re afraid you’ll kill yourself the way your mother did,’ I said.
‘I know,’ I said.

And he makes Dwayne’s wife, Celia, kill herself by drinking Drāno.

a mixture of sodium hydroxide and aluminum flakes, which was meant to clear drains. Celia became a small volcano, since she was composed of the same sorts of substances which commonly clogged drains.

For the richest and most powerful country in the world, America sure was, and apparently still is, full of very unhappy people.

The narrative arc is that Trout – based in New York – is invited to an arts festival taking place in (the fictional) Midland City, and has a string of adventures getting there, while Hoover is going mad in Midland City, disconcerting his various staff and employees at the Pontiac salesroom he owns.

But the real point of the novel is, I think, the way Vonnegut just adds all sorts of anecdotes, stories, jokes, pictures and reflections into it.

For example, the notion that Trout is almost supernaturally prolific allows Vonnegut to add in one-page synopses of Trout’s far-out science fiction novels. They come across as too simple to even be worked up into short stories, but they make excellent one-page diversions. There are at least ten of them, which add an extra layer of wackiness to the mix.

The fake naive style

What most distinguishes Breakfast of Champions from Vonnegut’s other books, and from any other book I’ve ever read, is the author’s deployment of a strategy of describing everything, even the most minute and obvious elements of life and society – as if to an alien who has never heard of them before.

Everything he mentions, almost anything, he stops the narrative to explain it as if to someone who has never heard of it before, often adding one of his drawings.

For example, right in the opening pages he sets out to piss off any conservative readers, and whip up his student fanbase, by treating America and its iconography as if it is inexplicably weird.

Trout and Hoover were citizens of the United States of America, a country which was called America for short. This was their national anthem, which was pure balderdash, like so much they were expected to take seriously… (Vonnegut quotes the entire lyric of the American national anthem)

There were one quadrillion nations in the Universe, but the nation Dwayne Hoover and Kilgore Trout belonged to was the only one with a national anthem which was gibberish sprinkled with question marks.

And:

If they studied their paper money for clues as to what their country was all about, they found, among a lot of other baroque trash, a picture of a truncated pyramid with a radiant eye on top of it, like this: (a hand-drawn illustration of the logo on an American dollar) Not even the President of the United States knew what that was all about. It was as though the country were saying to its citizens, ‘In nonsense is strength’.

A lot of the nonsense was the innocent result of playfulness on the part of the founding fathers of the nation of Dwayne Hoover and Kilgore Trout. The founders were aristocrats, and they wished to show off their useless education, which consisted of the study of hocus-pocus from ancient times.

As to American foreign policy:

When Dwayne Hoover and Kilgore Trout met each other, their country was by far the richest and most powerful country on the planet. It had most of the food and minerals and machinery, and it disciplined other countries by threatening to shoot big rockets at them or to drop things on them from airplanes.

All this was written as the Vietnam War reached its bloody climax:

Viet Nam was a country where America was trying to make people stop being communists by dropping things on them from airplanes.

If American authors want to say their country is rubbish, that’s fine by me – although I’d love to read about the backlash there must have been against Vonnegut by any kind of conservative writers, publications or institutions.

What interests me more is the wide-eyed innocence of this narratorial approach – as if he were not only explaining America to aliens, but to alien children.

Thus later on the narrator explains what a beaver is (with a drawing), what a clock tower is (with a drawing) what a gun is (a device for making holes in other people, along with a drawing), what an apple is (with a drawing), what a lamb is:

A lamb was a young animal which was legendary for sleeping well on the planet Earth. It looked like this:

To a large extent whether you like the book or not will be based on whether you can read hundreds of pages written in this faux innocent style, whether you find it liberating, or at least interesting, to see all human activity through these alien child’s point of view. Or whether you find it tiresome and almost demented.

Machines and chemicals

Closely related to the style is the delusion the author attributes to Dwayne Hoover of seeing all other human beings as machines. This is one of the ‘hallucinations’ which tips Hoover over into full-blown madness but we know, from the preface and from comments liberally sprinkled throughout the text, that Vonnegut often feels the same.

As for myself: I had come to the conclusion that there was nothing sacred about myself or about any human being, that we were all machines, doomed to collide and collide and collide. For want of anything better to do, we became fans of collisions. Sometimes I wrote well about collisions, which meant I was a writing machine in good repair. Sometimes I wrote badly, which meant I was a writing machine in bad repair. I no more harbored sacredness than did a Pontiac, a mousetrap, or a South Bend Lathe.

This conceit is used more for humour than bleakness. In fact the idea is most fully expressed in a book by Kilgore Trout which Dwayne reads in the cocktail bar at the climax of the novel and which brings on his fit. In the book, Trout writes:

‘Your parents were fighting machines and self-pitying machines,’ said the book. ‘Your mother was programmed to bawl out your father for being a defective moneymaking machine, and your father was programmed to bawl her out for being a defective housekeeping machine. They were programmed to bawl each other out for being defective loving machines.

‘Then your father was programmed to stomp out of the house and slam the door. This automatically turned your mother into a weeping machine. And your father would go down to a tavern where he would get drunk with some other drinking machines. Then all the drinking machines would go to a whorehouse and rent fucking machines. And then your father would drag himself home to become an apologizing machine. And your mother would become a very slow forgiving machine.’

If read in the right mood, this is pretty funny.

And Vonnegut sees human beings not only as machines, but as bags of chemicals:

I tend to think of human beings as huge, rubbery test tubes, too, with chemical reactions seething inside.

This comes over in the thread running throughout the text whereby the author refers to all kinds of aspects of the characters’ behaviours as being determined, not by free will, but by ‘the chemicals in their brains’.

A lot of people were like Dwayne: they created chemicals in their own bodies which were bad for their heads.

Vonnegut tells us in the preface that:

My own mother wrecked her brains with chemicals, which were supposed to make her sleep. When I get depressed, I take a little pill, and I cheer up again.

I know from personal experience what a huge difference medication for mental illness can make to a person. Chemical imbalances in the brain can certainly be life defining, character defining. Vonnegut lays this fact out with the same wide-eyed fake naivety as everything else from the American flag to apples.

Taken together the ideas that people are a) machines b) whose behaviour is largely determined by chemicals in their brains, dominate the book’s worldview.

Race

There’s a lot about race in the book. Of course the 1960s in America saw the rise of the Civil Rights Movement, the assassination of its leaders, and the growth of Black Power. How exactly the historical background seeps into the book I couldn’t say except that it is very aware of ‘the black problem’ and, as you would expect, Vonnegut is 110% on the liberal side, depicting southern slavery, southern bigotry, black crime rates and black incarceration rates as all aspects of white oppression.

Francine mused about the prison, where the guards were all white and most of the prisoners were black.

Then again, he crosses all kinds of lines which we, in 2019, have been taught to avoid. He uses the N word more than any modern writer would dare, mostly setting it down in his standard fake naive way, a way that conveys the outrage and injustice embodied in the word all the more powerfully for being used flat and blank.

Harry knew Dwayne better than did any other man. He had been with Dwayne for twenty years. He came to work for him when the agency was right on the edge of the Nigger part of town. A Nigger was a human being who was black.

There’s a lot more in the same ilk, some of it pretty disturbing. Here is Harry LeSabre, sales manager at Dwayne Hoover’s Pontiac dealership, talking with his wife, Grace.

‘Can the reindeer hear you?’ said Harry. ‘Fuck the reindeer,’ said Grace. Then she added, ‘No, the reindeer cannot hear.’ Reindeer was their code word for the black maid, who was far away in the kitchen at the time. It was their code word for black people in general. It allowed them to speak of the black problem in the city, which was a big one, without giving offense to any black person who might overhear. ‘The reindeer’s asleep – or reading the Black Panther Digest,’ she said.

The reindeer problem was essentially this: Nobody white had much use for black people anymore – except for the gangsters who sold the black people used cars and dope and furniture. Still, the reindeer went on reproducing. There were these useless, big black animals everywhere, and a lot of them had very bad dispositions. They were given small amounts of money every month, so they wouldn’t have to steal. There was talk of giving them very cheap dope, too – to keep them listless and cheerful, and uninterested in reproduction.

The Midland City Police Department, and the Midland County Sheriffs Department, were composed mainly of white men. They had racks and racks of submachine guns and twelve-gauge automatic shotguns for an open season on reindeer, which was bound to come.

This is bleak whichever way you view it. Is Vonnegut agreeing that there is a big race problem in America? The idea that blacks are given a small dole to stop them stealing is bleak satire. Should Harry and Grace’s attitude be taken as the average white middle class view of the day? And then the mass arming of the police against the coming of a race war even bleaker.

Sometimes Vonnegut combines his fake-naive approach to race with the conceit that humans are machines, to produce really bitingly dark satire. Thus, emerging from a porn cinema in Times Square, Kilgore Trout is propositioned by two hookers.

These were country girls. They had grown up in the rural south of the nation, where their ancestors had been used as agricultural machinery. The white farmers down there weren’t using machines made out of meat anymore, though, because machines made out of metal were cheaper and more reliable, and required simpler homes.

All America’s social problems are treated in the same way, with huge detachment as if we are all machines in a grotesquely malfunctioning factory.

Sex

Slaughterhouse-Five offended many Americans because of its dwelling on pornography. Not the writing of pornography, just Vonnegut dwelling on it as a symptom of human beings’ madness. Well, men’s. There’s a lot more of it in Breakfast of Champions.

Sex shops It turns out that Kilgore Trout’s numerous science fiction novels are generally bought up by pornographers purely to pad out their wank mags. This means that, before he sets off to the arts festival in Midland City, Trout spends some time cruising the sex shops around Times Square in New York.

Beaver shots Vonnegut goes to town on this, describing how hard core sex magazines advertise that they contain ‘wide open beaver’ shots i.e. photos of women with their legs and labia apart, for men to masturbate to. It’s a classic opportunity to use the false-naive approach to highlight the absurdity of men, women, sex, humanity.

At the time he met Dwayne Hoover, Trout’s most widely-distributed book was Plague on Wheels. The publisher didn’t change the title, but he obliterated most of it and all of Trout’s name with a lurid banner which made this promise:

WIDE-OPEN BEAVERS INSIDE!!!!!

A wide-open beaver was a photograph of a woman not wearing underpants, and with her legs far apart, so that the mouth of her vagina could be seen. The expression was first used by news photographers, who often got to see up women’s skirts at accidents and sporting events and from underneath fire escapes and so on. They needed a code word to yell to other newsmen and friendly policemen and firemen and so on, to let them know what could be seen, in case they wanted to see it. The word was this: “Beaver!”

Pictures of beavers from Breakfast of Champions

Pictures of beavers from Breakfast of Champions

When Dwayne was a boy, when Kilgore Trout was a boy, when I was a boy, and even when we became middle-aged men and older, it was the duty of the police and the courts to keep representations of such ordinary apertures from being examined and discussed by persons not engaged in the practice of medicine. It was somehow decided that wide-open beavers, which were ten thousand times as common as real beavers, should be the most massively defended secret under law.

There you have Vonnegut’s satirical view of the absurdity of sex, pornography and society.

The clitoris Trout has written an entire book about the clitoris (p.144) and how a man should pleasure a woman.

Penis size There is also a longish passage half way through the book, where Vonnegut tells us the precise penis lengths of all the male characters in the book. This feels like Tristram Shandy, the most famous example of learnèd wit, i.e. taking the mickey out of absurd scholarship and learning, updated to the era of the Kinsey Reports on sexual behaviour. In case you’re wondering:

Dwayne Hoover, incidentally, had an unusually large penis, and didn’t even know it

while:

Kilgore Trout had a penis seven inches long, but only one and one-quarter inches in diameter

at which point, in his fake-naive style, Vonnegut includes a drawing of an inch so that we know what we’re talking about.

Orgasms And this segues into a discussion of how many orgasms the main characters have per month.

Dwayne’s monthly orgasm rate on the average over the past ten years, which included the last years of his marriage, was two and one quarter. [Grace]’s monthly average over the same period was eighty-seven. Her husband [an assistant in Dwayne’s car dealership]’s average was thirty-six.

Cross dressing I was struck that Harry LeSabre is a transvestite. At weekends he likes to dress up in women’s clothes. His wife, Grace, is fine with this, but Harry is petrified lest it get out among his work colleagues.

Homosexuality And Dwayne is bothered because his son, George, has come out as gay, after having a terrible time at the military academy Dwayne sent him to when he was only a boy –

George Hoover went to Prairie Military Academy for eight years of uninterrupted sports, buggery and Fascism. Buggery consisted of sticking one’s penis in somebody else’s asshole or mouth, or having it done to one by somebody else.

with the result that he now insists on being called Bunny and plays piano in the cocktail lounge of the town’s Holiday Inn.

Role playing Earlier Dwayne took his secretary and lover, Francine Pefko, to the Holiday Inn where they made love but then Dwayne a) got really angry with her, shouting accusations, after which b) he collapsed into self pity and wanted her to be his Mommy.

He begged her to just hold him for a while, which she did.
‘I’m so confused,’ he said.
‘We all are,’ she said.
She cradled his head against her breasts.
‘I’ve got to talk to somebody,’ said Dwayne.
‘You can talk to Mommy, if you want,’ said Francine. She meant that she was Mommy.
‘Tell me what life is all about,’ Dwayne begged her fragrant bosom.

Prison sex A minor character, a black man just out of prison named Wayne Hoobler who’s been hanging round Dwayne’s Pontiac salesroom, reminisces about sex in prison.

He missed the clash of steel doors. He missed the bread and the stew and the pitchers of milk and coffee. He missed fucking other men in the mouth and the asshole, and being fucked in the mouth and the asshole, and jerking off – and fucking cows in the prison dairy, all events in a normal sex life on the planet, as far as he knew.

My point being that if a contemporary novel tackled these ‘issues’ it would be praised for being up to date and contemporary. But here’s Vonnegut writing about them 45 years ago. Nothing changes. Sex deranges everything.

The environment

But amid the satire about humans being machines driven by malfunctioning brain chemistry, about the madness of patriotism and wars, about the crazy attitudes to sex and the brutal racism of American society, there’s another strong theme which is environmentalism.

Right at the start of the novel Vonnegut describes Earth as a damaged planet, a dying planet, a wrecked planet, before we learn Trout’s theory that the atmosphere will soon become unbreathable and goes on:

He told Bill that humanity deserved to die horribly, since it had behaved so cruelly and wastefully on a planet so sweet.

The theme is picked up by the truck driver who Trout hitches a lift east out of New York with. As they drive through the wastelands of New Jersey, the driver laments how dirty and polluted the whole state has become.

‘And when you think of the shit that most of these factories make – wash day products, catfood, pop…’ He had a point. The planet was being destroyed by manufacturing processes, and what was being manufactured was lousy, by and large.

He said he knew that his truck was turning the atmosphere into poison gas, and that the planet was being turned into pavement so his truck could go anywhere.

And the theme is repeated big time when they drive through West Virginia and see how the landscape has been devastated by coal mining and Vonnegut, using the fake-naive approach, laments how crazy it is that people, because they own the minerals and oil and coal deep within the Earth, are allowed by our laws to devastate and pollute the surface of the Earth which we all inhabit.

The truck carrying Kilgore Trout was in West Virginia now. The surface of the State had been demolished by men and machinery and explosives in order to make it yield up its coal. The coal was mostly gone now. It had been turned into heat.

Summary

The experience of reading Breakfast of Champions is funny if disconcerting. The fake naive style, the casual way all kinds of topics are – race, sex, politics, war, environment – are treated with a deadpan straight face and reduced to absurdity by being illustrated with the author’s drawings, all this is often quite amusing.

But as soon as you stop and tabulate the themes, as I’ve done, you can see that just beneath the surface – and quite often on the surface – is world class depression, pessimism and nihilism.

In the last third of the novel Vonnegut himself appears as the author of the book and begins to play a role in it. We learn how he bought a pair of dark glasses on his way to Midland City where he walks into the same cocktail bar where Kilgore Trout is sitting and then watches the entrance of his character, Dwayne Hoover. He then shares with us the process of making up various secondary characters, giving them names and attributes and generally orchestrating the events which follow.

Not only does he tell us how he’s making the story up – in standard post-modern style – but he shares with us his worries about his mental illness (‘leaks’ in this extract is the term Vonnegut has developed to describe glasses and sunglasses).

There in the cocktail lounge, peering out through my leaks at a world of my own invention, I mouthed this word: schizophrenia. The sound and appearance of the word had fascinated me for many years. It sounded and looked to me like a human being sneezing in a blizzard of soapflakes. I did not and do not know for certain that I have that disease. This much I knew and know: I was making myself hideously uncomfortable by not narrowing my attention to details of life which were immediately important, and by refusing to believe what my neighbours believed.

I am better now.
Word of honour: I am better now

Much of these personal anxieties are present in Slaughterhouse-Five but there they are contained and channelled into the vivid description of, and emotional reaction to, Billy Pilgrim’s terrible war experiences. They are justified by the genuine nihilism of war. That’s what makes Slaughterhouse-Five a classic. The subject justifies the deranged treatment. The reader thinks: well, having been through what Vonnegut went through, I’ll give him any amount of leeway in how he presents it.

But Vonnegut is all too aware that this novel completely lacks the historical authenticity and punch of its predecessor. It lacks the excuse of being about a Big Subject.

For sure, he excoriates every aspect of American society and human nature which he can get his hands on but, as a result, the book not only lacks focus but lacks a justification. Instead, you keep circling back to find Vonnegut’s face, staring out at the reader in mute despair.


Related links

Kurt Vonnegut reviews

Other science fiction reviews

1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1898 The War of the Worlds – the Martians invade earth
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, there to discover…

1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Ransom and take him in their spherical spaceship to Malacandra aka Mars,

1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the ‘trilogy’ describing the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence powered by spindizzy technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
1956 They Shall Have Stars by James Blish – explains the invention – in the near future – of the anti-death drugs and the spindizzy technology which allow the human race to colonise the galaxy
1959 The Triumph of Time by James Blish – concluding story of Blish’s Okie tetralogy in which Amalfi and his friends are present at the end of the universe

1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped andys
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after a catastrophe on the moon

1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?

1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the Golden Era of the genre, namely the 1950s
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the enormous monolith on Japetus
1987 2061: Odyssey Three by Arthur C. Clarke* – Spaceship Galaxy is hijacked and forced to land on Europa, a moon of the former Jupiter, but the thriller aspects are only pretexts for Clarke’s wonderful descriptions of landing on Halley’s Comet and the evolution of wild and unexpected new forms of life on Europa