In The Analyst’s Experience of the Depressive Position: The Melancholic Errand of Psychoanalysis, Steven Cooper explores a subject matter previously applied more exclusively to patients, but rarely to psychoanalysts. Cooper probes the analyst’s experience of the depressive position in the analytic situation. These experiences include the pleasures and warmth of helping patients to bear what appears unbearable, as well as the poignant experiences of limitation, incompleteness, repetition and disappointment as a vital part of clinical work. He describes a seam in clinical work in which the analyst is always trying to find and re-find a position from which he can help patients to work with these experiences. The Analyst’s Experience of the Depressive Position includes an exploration of the analyst’s participation and resistance to helping patients hold some of the most unsettling parts of their experience. Cooper draws some analogies between elements of theory about aesthetic experience in terms of how we bear new and old experience. He provides an examination of the patient as an artist of sorts and the analyst as a form of psychic boundary artist. Just as the creative act of art involves the capacity to transform pain and ruin into the depressive position, so does the co-creation of how we understand the patient’s mind through the mind of the analyst. The Analyst’s Experience of the Depressive Position explores a rich, provocative and long overdue topic relevant to psychoanalysts, psycho-dynamically oriented psychotherapists, as well as students and teachers of both psychoanalysis and psychodynamic psychotherapy.

In Who Is the Dreamer Who Dreams the Dream? A Study of Psychic Presences, James Grotstein integrates some of his most important work of recent years in addressing fundamental questions of human psychology and spirituality. He explores two quintessential and interrelated psychoanalytic problems: the nature of the unconscious mind and the meaning and inner structure of human subjectivity. To this end, he teases apart the complex, tangled threads that constitute self-experience, delineating psychic presences and mystifying dualities, subjects with varying perspectives and functions, and objects with different, often phantasmagoric properties. Whether he is expounding on the Unconscious as a range of dimensions understandable in terms of nonlinear concepts of chaos, complexity, and emergence theory; modifying the psychoanalytic concept of psychic determinism by joining it to the concept of autochthony; comparing Melanie Klein's notion of the archaic Oedipus complex with the ancient Greek myth of the labyrinth and the Minotaur; or examining the relationship between the stories of Oedipus and Christ, Grotstein emerges as an analyst whose clinical sensibility has been profoundly deepened by his scholarly use of mythology, classical thought, and contemporary philosophy. The result is both an important synthesis of major currents of contemporary psychoanalytic thought and a moving exploration of the nature of human suffering and spirituality.

Clinical Lectures on Klein and Bion outlines the basic ideas in their thinking and shows in detail how these ideas can be used to tackle a clinical problem. The contributors correct some common misconceptions about Kleinian analysis, while demonstrating the continuity of their everyday work with seminal ideas of Klein and Bion. Originally given as a series of lectures intended to acquaint the general public with recent developments in psychoanalytic thinking and practice, the papers in this book cover the most fundamental ideas put forward by Klein and Bion; child analysis, Klein's use of the concepts of unconscious phantasy, projective identification, the paranoid-schizoid and depressive positions, Bion's study of psychotic thinking, his ideas of the relation between container and contained, and the usefulness of the ideas of reversible perspective in understanding 'as if' personalities. In particular, this book provides an eminently readable and authoritative introduction to some of the most original and controversial concepts ever put forward in psychoanalysis.

Dhwani Shah moves the focus from using psychoanalytic theory and technique to explore the patient's mind from a safe distance. Instead, he concentrates on the analyst's feelings, subjective experiences, and histories, and how these impact on the intersubjective space between analyst and patient. His eight chapters each highlight a particular emotional state or problematic feeling and explore their impact on the analytic work, which requires emotional honesty and open reflection. This authenticity is vital for every unique encounter within the shared space of both the analyst and patient. The analyst must strive to be responsive, yet disciplined, and this requires the work of mentalization. An ability to "go there" with patients offers the best chance at helping them. The analyst's uncomfortable and disowned emotional states of mind are inevitably entangled with the therapeutic process and this has the potential to derail or facilitate progress. The chapters deal with uncomfortable themes for the analyst to face: arrogance, racism, dread and its close relation erotic dread, dissociation, shame, hopelessness, and jealousy. These bring up common ways in which analysts stop listening and struggle in the face of uncertainty and intensity; the difficulties in facing unbearable experiences with patients, such as suicidality; disruptions to being with patients in an affective and embodied way; and thwarted fantasies of being the "hero". With all of these difficult topics, Shah describes painful and tormenting experiences in a clinically meaningful way that allow growth. In this exceptional debut work, Shah demonstrates that what analysts feel, in their affects, bodies, and reveries with patients, is vital in helping them to understand and metabolise the patients' emotional experiences. This is a must-read for all practising clinicians.

In Freud's Art – Psychoanalysis Retold Janet Sayers provides a refreshing new introduction to psychoanalysis by retelling its story through art. She does this by bringing together experts from psychoanalysis, art history, and art education to show how art and psychoanalysis illuminate each other. Freud's Art begins with major founders of psychoanalysis - Freud, Jung, Spielrein and Klein. It then details art-minded developments of their ideas by Adrian Stokes, Jacques Lacan, Marion Milner, Anton Ehrenzweig, Donald Winnicott, and Wilfred Bion before concluding with the recent theories of Jean Laplanche and Julia Kristeva. The result is a book which highlights the importance of psychoanalysis, together with painting and the visual arts, to understanding the centrality of visual imagery, fantasy, nightmares and dreams to all of us, artists and non-artists alike. Illustrated throughout with fascinating case histories, examples of well known and amateur art, doodles, drawings, and paintings by both analysts and their patients, Freud's Art provides a compelling account of psychoanalysis for all those studying, working in, or simply intrigued by psychology, mental health and creativity today.

This collection of papers, written over the last six years by Robert Caper, focuses on the importance of distinguishing self from object in psychological development. Robert Caper demonstrates the importance this psychological disentanglement plays in the therapeutic effect of psychoanalysis. In doing so he demonstrates what differentiates the practice of psychoanalysis from psychotherapy; while psychotherapy aims to ease the patient towards "good mental health" through careful suggestion; psychoanalysis allows the patient to discover him/herself, with the self wholly distinguished from other people and other objects.

'This is an extraordinary and exciting book, the work of a truly original and creative psychoanalytic theoretician and most astute clinician. Ogden continues to expand and to deepen his reformulations of the British object-relations theorists, M. Klein, W. R. Bion, D. W. Winnicott, W. R. D. Fairbairn, H. Guntrip, to illuminate further the world of internalized object relations. His concepts are evolutionary and at times revolutionary. Exploring the area of human experience that lies beyond the psychological territories addressed by the previous theorists, he introduces the concept of an autistic-contiguous mode as a way of conceiving of the most primitive psychological organization through which the sensory 'floor' of the experience of self is generated. He conceives of this mode as a sensory-dominated, presymbolic area of experience in which the most primitive form of meaning is generated on the basis of organization of sensory impressions, particularly at the skin surface. A major tenet in the book is a conceptualization of human experience throughout life as the product of a dialectical interplay among three modes of generating experience: the depressive, the paranoid-schizoid, and the autistic-contiguous. Each mode creates, preserves, and negates the other. No single mode of generating experience exists independently of the others. Psychopathology is conceptualized as a 'collapse' of the dialectic in the direction of one or another mode of generating experience. The outcome of such collapse may be entrapment in rigid, asymbolic patterns of sensation (collapse in the direction of the autistic-contiguous mode), or imprisonment in a world of omnipotent internal objects where thoughts and feelings are experienced as things and forces which occupy or bombard the self (collapse in the direction of paranoid-schizoid mode) or isolation of the self from lived experience and aliveness of bodily, sensations (collapse in the direction of the depressive mode). Ogden presents his unique development of the autistic-contiguous mode as the synthesis, interpretation, and extension of the works of D. Meltzer, E. Bick, and F. Tustin. He is careful to state that this psychological organization is a developing and ongoing) mode of generating experience and not a limited phase of development; an elaboration of this primitive organization is an integral part of normal development. All three modes are considered not 'positions' to be passed through, outgrown, or overcome, and relegated to the past, but as integral dimensions of present adult ego functioning. Sensory experience in an autistic-contiguous mode has rhythmicity that is becoming the continuity of being; it has boundedness that is the beginning of experience of the place where one feels things and lives; it has features such as shape, hardness, cold, warmth and texture, beginnings of the qualities of who one is. As his generous case examples aptly demonstrate, Ogden's theories are solidly grounded in his discerning work with a broad variety of patients. His brilliant pathfinding will enlighten and enrich the reader with invaluable insights. He will listen with new ears and with a fresh conceptual framework with which to comprehend the most primitive elements of human development and the complex interplay among the different modes of experience. This is a bold, important, instructive, and stimulating book of equally great clinical and theoretical applicability.' —The Journal of the American Psychoanalytic Association A Jason Aronson Book