This book explores the interface of dreams, reverie, poetry, and play. It explores set of metaphors introduced by Freud to provide a fresh language and imagery with which to think and speak about the reverie experience of analysts.

Dr. Thomas Ogden is the most widely read psychoanalyst writing today. This, his most important book, describes how one thinks and works as an analyst; how to increase the capacity to feel in a visceral way in the alive moments of a session; and how, through close attention to the nuances of language, gestures, and actions, to grasp the intersubjective construction the patient and therapist are creating.

"'The sources of human creativity have always been mysterious. In this brilliant new contribution, Thomas Ogden explores the interface of dreams, reverie, poetry, and play. In so doing, he leads us to new understandings about both creativity and the analytic conversations we have with our patients and ourselves.' Glen O. Gabbard, M.D."--Provided by publisher.

In his fifth book Thomas Ogden, widely regarded as the most profound and original psychoanalytic writer of this decade, explores the frontier of contemporary psychoanalytic thinking: the experience of the analyst and patient in the dynamic interplay of subjectivity and intersubjectivity. A Jason Aronson Book

Thomas H. Ogden is the winner of the 2004 International Journal of Psychoanalysis Award for the Most Important Paper of the year and the 2010 Haskell Norman Prize – an international award for "outstanding achievement as a psychoanalytic clinician, teacher and theoretician". Thomas Ogden is internationally recognized as one of the most creative analytic thinkers writing today. In this book he brings his original analytic ideas to life by means of his own method of closely reading major analytic works. He reads watershed papers in a way that does not simply cast new and discerning light on the works he is discussing, but introduces his own thinking regarding the ideas being discussed in the texts. Ogden offers expanded understandings of some of the most fundamental concepts constituting psychoanalytic theory and practice. He does so by finding in each of the articles he discusses much that the author knew, but did not know that he or she knew. An example of this is how Freud, in his conception of the unconscious workings of mourning and melancholia, was providing the foundation of a theory of unconscious internal object relations. Ogden goes on to provide further re-readings of classic material from the following key contributors to contemporary psychoanalysis: W. R. D. Fairbairn Donald Winnicott Wilfred Bion Hans Loewald Harold Searles. This book is not simply a book of readings, it is a book about reading, about how to read in a way that readers actively rewrite what they are reading, and in so doing makes the ideas truly their own. The concepts that Ogden develops in his readings provide a significant step in the reader’s expansion of his or her understanding of many of the ideas that lie at the cutting edge of contemporary psychoanalysis. It will be of particular interest to psychoanalysts and psychotherapists who use a psychodynamic approach, as well as professionals and academics with an interest in contemporary psychoanalysis.

Winner of the 2010 Haskell Norman Prize for Outstanding Achievement in Psychoanalysis! This Art of Psychoanalysis offers a unique perspective on psychoanalysis that features a new way of conceptualizing the role of dreaming in human psychology.

An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it. Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.