This is a paper about the difficulties we as analysts get into when we find that a patient has activated something in our unconscious which we cannot resolve in our work with them. Fordham described at the end of his life, in a number of papers, his difficulties and discomfort at not being able to resolve an impasse with one of his patients. From the conversations we had about this situation I knew this caused them both a lot of pain. After Fordham's death his former patient consulted me. Arising from these consultations I describe how I have understood the impasse to have arisen between Fordham and his patient. This paper links character and clinical interests, personality and impasse, developmental failures and defences of the self. It is a personal statement in which I have struggled to represent the meaning in the pain these two men suffered during their analytic engagement, which lasted more than ten years. The theme of fathers and sons was central to the problem.
One of the great themes of American literature is the self-invented personality, whether it is Scott Fitzgerald's Gatsby or one of Philip Roth's alter egos, such as Nathaniel Zuckerman. This is just one of several approaches which novelists employ. They take a problem from life, perhaps their own, and then embark on solving the problem of the book-which is how to write about this. Sometimes, as in Tobias Wolff's novel Old School, the personality of the narrator is woven into an exploration of the creative process itself. Wolff's novel concerns itself not just with writing but with how to become a writer. I explore how this process is similar to both writing about analysis and becoming an analyst. In doing this I discuss issues of authenticity, fiction, art, the effects of identification, the power of the super-ego, supervision and learning, integrity of life and work, envy and the xenocidal impulse, the regulation of our profession and the loss of trust, and in so doing join in discussion with Plaut, Wharton, Tuckett and others about professional communications, the internal world and the mysteriousness of our relation to our internal objects.
As analysts, we strive to say what we mean, which involves understanding the other person's communication, finding the appropriate form of words to articulate what we have understood, and expressing them in the tone of voice which can be heard. Meaning what we say refers to the authenticity of our response, that what we say is sincere. My theme touches on different ways of saying what we mean and how this can affect the meaning of what we say. Some of the issues are aesthetic, some grammatical. How some sentence structures lead to closing off communication while others open it.
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