An Autobiographical Study by Sigmund Freud (1925)

This essay was one of 27 commissioned for a series called ‘Contemporary Medicine in Self-Portrayals’ i.e. less a strict autobiography than a ‘my life and my contribution to science’.

It comprises a sketchy historical review of the events leading up to Freud’s ‘discovery’ of psychoanalysis, then an exposition of psychoanalysis’s central tenets, an explanation of the technique, and a sketch of its applications to other spheres of human knowledge.

Early life

Sigmund Freud was born on 6 May 1856 in Freiberg in Moravia, in the modern Czech Republic, the youngest of 9 children of the bankrupt wool-trader Jacob Freud (also mention in The Interpretation of Dreams, page 284).

Moves to Vienna aged 4. Consistently top of his class at the Gymnasium (junior school).

His father, Jacob, though poor, said, ‘Follow whatever career you wish, son’. He didn’t specially want to become a doctor:

I was moved rather by a sort of curiosity which was directed more towards human concerns than towards natural objects.

At higher school he was caught up in the intellectual excitement generated by the theories of Darwin and, after listening to an inspiring essay on Nature by Goethe, he decides to study medicine (as recounted in The Interpretation of Dreams, page 572).

1873: Starts attending University of Vienna. Encounters antisemitism for the first time. Unsure what to specialise in until he attends classes by Ernst Brucke, Professor of Physiology, who becomes his hero.

1876 to 1882: Researches physiology of the nervous system of fish and eels. Takes a long time to win his Degree as Doctor of Medicine, in 1881.

1882: Brucke tells him, ‘You are poor. There’s no money in pure research; best to take up the actual practice of medicine.’ So Sigmund enters the Vienna General Hospital but continues with his theoretical interests, now concentrating on disorders of the human nervous system.

From the anatomy of the brain – still very theoretical, i.e. no cash – Freud moved on to study nervous diseases. Almost nothing was known about nervous diseases in the 1880s, there were no specialists and few texts in Vienna. Far away in Paris shone the beacon of Jean-Martin Charcot, a leading light in treating mental illness.

1885: Appointed Lecturer on Neuropathology due to his research. Soon afterwards awarded a bursary and set off to Paris to study under Charcot. Here Charcot had proved that hysteria existed as a definite distinct diagnosis. Contrary to received opinion it could be found in men as well as women. It resulted in physical symptoms. It could be brought on by hypnotic suggestion. But as to the psychological origins of hysteria – nothing.

1886: On the way back from his winter stay in Paris he stopped at Berlin to study the disorders of childhood. Via the prestigious Kassowitz Institute for Children Freud published a string of learned studies of cerebral palsy.

1883 to 1884: Freud experiments with the new drug cocaine as a possible anaesthetic, but others do the definitive work.

1886: Freud marries Martha Binnays, fiancée for 4 long frustrating years due to his lack of money or prospects Now, aged 30, with no real achievements to his name, Freud really needs money to set up the kind of bourgeois household he wants.

1886: When Freud lectures in Vienna on Charcot’s discoveries he is largely ridiculed and excluded from research laboratories. So he sets up as a private consultant on nervous diseases. How does he treat people? With electrotherapy (which he soon drops) and with the hypnotism he had witnessed in Paris.

1889: Freud visits Nancy to watch the great Hippolyte Bernheim perform hypnosis. It was Bernheim who developed the notion of suggestibility under hypnosis. Freud had translated Bernheim’s On Suggestion and its Applications to Therapy in 1888. He took along some of his private patients. Pondering hypnosis hints that there are forces operating on the mind of which we are normally unconscious. But in practice it rarely cures real neurotics.

1880 to 1882: While all this went on Freud befriended Josef Breuer, a physician 14 years his elder. Breuer tells him about his treatment of Anna O. This clever young woman is afflicted with a colourful array of neurotic symptoms. Breuer discovered that if he hypnotised her, she was capable of explaining the origins of the symptoms in real-life events of which she was unaware in waking life. Not only that, but once she explained the cause, the symptom disappeared! Clearly neurotic symptoms have meaning; they are related to real life events, so they are memories but they are buried somewhere inaccessible to waking consciousness. Freud replicates Breuer’s results with many of his private patients.

1895: Freud publishes Studies On Hysteria, a list of case studies with some theory of the ‘cathartic’ method of cure i.e. hysteria is caused by suppressed memories but if these memories can be brought into the conscious minds, the symptom disappears. Breuer is happy to leave his findings at that.

1895 to 1900: The Heroic Period. Freud sets out on a voyage of discovery building on the insights gained so far. Above all he begins to suspect a sexual factor in the aetiology of hysteria. He moves on to confirm a similar sexual motive lying beneath neuraesthenics. He realises that much of the success of hypnotism is due to the patient’s trust in the hypnotist. After a while he realises that he can get comparable results in his patients (i.e. the release of a flood of memories) by just asking. Slowly he evolves the technique of free association.

1896: Freud’s father dies and he begins a pitiless self-analysis reviewing his whole life, his aims and achievements to date. He comes to realise the importance of little-suspected motives, of early fears and anxieties in his adult life, choices and behaviour. At the same time he is examining his patients for similar origins to their obsessions and symptoms.

All the thoughts of this turbulent period are recorded in his epic correspondence with Wilhelm Fliess, an ear-nose and throat specialist based 500 miles away in Berlin. Nowadays dismissed as a crank, Fliess nonetheless provided an invaluable sounding board for Freud’s wacky speculations at a time when respectable opinion in Vienna increasingly shunned him.

Psychoanalysis

1899: publishes The Interpretation of Dreams which contains all Freud’s major discoveries, either explicitly or in embryo:

  • Neurotic symptoms are the return of repressed memories of desires or feelings too shameful for the patient to cope with, which is why they are repressed.
  • The amount of effort needed to recall them to conscious thought is a measure of resistance.
  • Free association helps the patient approach the dangerous memory.
  • But a quicker way to get there is through dream interpretation.
  • Dreams are the disguised fulfilment of a repressed wish.
  • Dreams use the language of the unconscious in which everything is eternally present, persons are interchangeable, logic is forgotten and the vilest desires are expressed.
  • Desires are distorted by the dream-work which consists of condensation, overdetermination, displacement – so that a dream has two layers, the manifest content (what we remember and tell upon waking) and the latent content (the distorted wish).
  • Dream interpretation is the royal road to the Unconscious.

An instinctive wish wells up in us. The ego forbids it entrance to consciousness. It is repressed but it must have expression. So it re-emerges, disguised, in dreams and in neurotic symptoms. Therefore, mental illness is a message from the unconscious; when the painful message is deciphered by the common work of analysis, the wish is discharged with an ‘affective release’ i.e. emotion; the patient bursts into tears etc.

Following on the Release of Tension there is the Act of Judgement or Sublimation. You consciously come to terms with this shameful part of your personality; or, less consciously, you sublimate its energy into a new understanding of your life, your motives, your agenda, into higher goals.

The essence of the Psychoanalytical Revolution is this: Everything mental is in the first instance unconscious; the further property of consciousness may be present or it may be absent. Consciousness, this precious mind, is, then, almost irrelevant to the truth about us and to how we actually behave as human animals.

This is a departure from all previous theories of the mind which, reasonably enough, had concentrated on asking how Reason and Intellect work, what is the role of language in thought etc etc? Two thousand years of philosophers worrying away at the nature of the links between sensations and concepts and the words we express them in.

Freud says this is irrelevant. Consciousness is a puny, secondary, almost irrelevant secretion – a rationalisation, a justification – of decisions and wishes and desires and strategies which are fully worked out in a part of the mind which can by its nature never be accessible to us. We can only guess at its activities by inference, from the misshapen tip of the iceberg which is all we can see.

The sexuality of children

1905: Three Essays on Sexuality. The other major component of the theory is the sexuality of children. Through analysis, through dreams and free association, most of his patients traced their problems back to infantile sexual experiences. Though not sexual in the standard meaning (erection, ejaculation etc) Freud found that children are excited and gain pleasure – gratification – of the sexual instinct, through different parts of their bodies as they grow. He called these the erotogenic zones.

He hypothesised a developmental model:

  • Years 0 to 1: pleasure through the mouth, sucking on the breast, the oral phase
  • Years 1 to 3: pleasure in acquiring control over peeing and defecating, the anal-sadistic phase
  • Years 3 to 5: pleasure in playing with the little penis or clitoris, the phallic stage

At this point the sexual drives are clearly in approximately the right place for the purposes of reproduction to which they will be called at the onset of puberty.

The actual pleasure is derived from the operation of a whole number of instincts which steadily sort themselves out into their component parts as the child grows, often resulting in pairs of opposites: masochistic and sadistic urges; the urge to show and to look.

Small children’s play amounts to continuous experimentation with a steadily growing range of instinctual drives and satisfactions, applied to the child’s steadily growing awareness, first of parts of its body, then of their functions, then of the body’s relationship to the outside world, and finally to other people, to its siblings and parents.

The sexual impulse overall is called the libido. The libido does not develop smoothly.

As a result either of the excessive strength of certain of the components or of experiences involving premature satisfaction, fixations of the libido may occur at various points in its development. If subsequently a repression takes place, the libido flows back to these points (a process described as regression) and it is from them that the [frustrated] energy bursts through in the form of a symptom.

The Three Essays set out to schematise all human sexual experience.

‘Normal’ heterosexual genital intercourse undertaken for the procreation of children – the only form of sex allowed by the Catholic Church – is a product of the most strenuous repression of other desires, and the pinnacle, the furthest highest peak, of sexual development. In reality the overwhelming majority of the population are unable to adhere to this incredibly restricted target and indulge in various forms of ‘perversion’ (in the Catholic sense).

The Three Essays turn 2,000 years of theories about sex and our relationship with our bodies on their heads. In Freud’s model the gratification of physical instincts is the bedrock of human existence; in his view, children, far from being sexless innocents, from the earliest age are indulging these desires, and none of us ever really gives them up; they are merely repressed. They can be repressed in numerous ways, if badly resulting in us becoming twisted or neurotic; or they can be sublimated into ‘higher’ activities acceptable to society.

The structures of society, the institutions of civilised life which we like to pride ourselves on – its laws and morality and religion and philosophy and art – are constructed in order to hide our true animal nature from ourselves.

Back to the theory of development. The developing instincts must have an object: to begin with it is the infant’s own body, in a state of permanent auto-erotism (thus the small infant is said to be polymorphously perverse simply meaning that it finds pleasure in every aspect of physicality).

Later, the infant develops an awareness of the breast it is suckling from and develops an image of the Good Mother (who suckles it) and the Bad Mother (who goes away).

Later still the child becomes aware of the complementary roles played by its mother and father, and the boy-child wants to take his father’s place and take possession of his mother. This is the Oedipus Complex, which Freud placed slap-bang at the centre of his theory of childhood development, of the aetiology of the neuroses, of the origins of culture and society, and of the way existing societies are run.

All a child’s puzzles about its little winkle, about where it came from, everything becomes centred on this grand obsession: 1) terror of the all-powerful Father, and the reverse side of terror, aggression, the wish to kill him; and 2) love of the mother who suckled us and is affectionate.

Like Oedipus we wish to kill our father and sleep with our mother. These are the only people in the child’s life; onto them he projects models of all the possible relations human beings can have. No surprise, then, that in later life so many of our attitudes to authority figures, love objects, other citizens, work-mates etc will be found to derive from the primitive stratum of emotional webs which are centred on the Oedipal Complex.

Once the child has overcome these feelings, he lapses into years of amnesia, the latency period from 5 to the onset of puberty at 11, 12, 13. The storm and stress of infancy are largely forgotten while the child’s faculties are concentrated outwards onto social activity, on learning from parents, teachers and other authorities, what rules to obey, how to read and write and judge, how to handle your peers: the vital work of acculturation, of learning the ancestral wisdom which separates us from the simple beasts who repeat in each generation their timeless instinctive activity.

The latency period seems to be a phenomenon of advanced societies. During this period the child develops reaction-formations (equal and opposite reactions against the sexually intense years), meaning emotions such as disgust and shame.

These, for Freud are the origins of morality. You are indoctrinated into thinking that the acts of defecating, peeing, playing with your parts are ‘dirty’. You react with shame. Encouraged by your parents, your teachers and everything you read, you develop an idea that sex is ‘wrong’, ‘dirty’.

A strong body of tradition originating from the highest possible authority (God) goes to confirm all these feelings and to encourage you to sublimate them into socially-acceptable forms. Thus religious believers themselves display many interesting examples of perversions, neuroses and various types of abnormal behaviour under the protection of piety.

The child introjects all of these injunctions from their parents and other authority figures, and constructs an ego-ideal, a model way to live and behave and think. They hero-worship idealised figures, from Jesus to Hollywood stars to the latest soccer players.

You want to live up to their standard, to impress them with selflessness and devotion to an ideal. You lay down in your mind a superego or conscience, the internalised laws of your culture which now supersede the rules of the parents (who are, in any case, beginning to seem all-too-human and fallible).

Puberty

The onset of puberty with its rush of hormones and the development of primary and secondary sexual differentiation is a traditional time of turmoil in all societies and a time when the young have to be forcibly, sometimes painfully, initiated into full adult membership of society.

In more advanced cultures this means the early sexual patterns are revived but come into fierce conflict with the reaction-formations of disgust and shame and the powerful strictures of the introjected superego.

But the ideal, mature grown-up is as much of a myth as the ideal, model, married heterosexual. Freud’s theory helps to explain what a chaos of complexes and obsessions and instincts and desires and repressions and terrors and self-punishment we have to pass through to emerge as anything like the responsible grown-ups which society requires.

I hope it will be easy to gather the nature of my extension of the concept of sexuality. In the first place sexuality is divorced from its too close connection with the genitals and is regarded as a more comprehensive bodily function, having pleasure as its goal and only secondarily coming to serve the purposes of reproduction. In the second place the sexual impulses are regarded as including all those merely affectionate and friendly impulses to which usage applies the exceedingly ambiguous word ‘love’.

The detaching of sexuality from the genitals has the advantage of allowing us to bring the sexual activities of children and of perverts into the same scope as those of normal adults. The sexual activities of children have hitherto been entirely neglected and though those of perverts have been recognised it has been with moral indignation and without understanding. From the psychoanalytic standpoint, even the most eccentric and repellent perversions are explicable as manifestations of component instincts of sexuality which have freed themselves from the primacy of the genitals and are now in pursuit of pleasure on their own account as they were in the very early days of the libido’s development. The most important of these perversions, homosexuality, scarcely deserves the name. It can be traced back to the constitutional bisexuality of all human beings and to the after-effects of the phallic primacy. Psychoanalysis enables us to point to some trace or other of a homosexual object-choice in everyone…. Psychoanalysis has no concern whatever with any judgements of value.

The second of my alleged extensions of the concept of sexuality finds its justification in the fact revealed by psychoanalytic investigation that all of these affectionate impulses were originally of a completely sexual nature but have become inhibited in their aim or sublimated. The manner in which the sexual instincts can thus be influenced and diverted enables them to be employed for cultural activities of every kind.

Psychoanalytic therapy

Freud then moves on to explain the technique of analysis. This is based on the concept of transference. The patient soon forgets the wish to be cured of unhappiness or troubling thoughts and symptoms. He begins to project onto the analyst his deepest feelings. These may be of love and affection for the great healer of souls – in which case the analyst can work with them to continue towards catharsis.

But transference may become entirely negative, the patient projecting aggression and defiance onto the analyst. This makes things difficult, sometimes impossible. The centrality and the limitation of transference explains why analysis works with some patients and not with others; and also why whole categories of patient are beyond its help, namely schizophrenics and paranoiacs, who are too detached from reality to form the realistic relationship with the analyst which transference requires in order to work.

The transference is made conscious to the patient by the analyst and it is resolved by convincing him that in his transference attitude he is re-experiencing emotional relationships which had their origin in his earliest object attachments during the repressed period of his childhood.

The history of the psychoanalytic movement

1900: Freud’s discoveries were either ignored or dismissed. Freud came to attribute this to the resistance of the wider world to the truth, resistance which is modelled on and derives from the original work of repression carried out during the latency period. It is denial from the wider world similar to the denial Freud encountered from individual patients who disbelieved his interpretations until they were finally persuaded and cured.

1902: Interested physicians begin to meet at Freud’s house.

1906: Interest in Freud stirs in Zurich, at the renowned Bergholzli Sanatorium run by Eugene Bleuler and his rising assistant Carl Gustav Jung.

1908: All interested parties, from Austria, Germany and Switzerland, meet at Salzburg for the first Psychoanalytic Congress.

1909: Freud and Jung are invited to America, to lecture at Clark University, Worcester, Massachussetts, at the invitation of President Stanley Hall. In the States Freud meets Harvard neurologist James J. Putnam and the ‘pragmatic’ philosopher William James. James in his classic text, The Varieties of Religious Experience (1902), had set out to draw a limit to the kind of scientific positivism espoused by Freud, and to reserve an exclusive area of experience open only to intuition: more or less religious experience.

1910: The Second Psychoanalytical Congress in Nurenberg sets up an the International Psychoanalytical Society and appoints Jung the first President.

1911 to 1913: Two secessionist movements. Alfred Adler leaves to set up Individual Psychology based on the ‘masculine protest’, the idea that neuroses are formed by the drive to overcome perceived organ inferiorities. (This is the origin of the inferiority complex). Jung leaves to set up Analytical Psychology, emptying Freud’s libido of its sexual content, rejecting the Oedipus Complex and importing ideas like a ‘racial unconscious’, ‘the oceanic feeling’, ‘archetypes of behaviour’ – in every instance abandoning the specific discoveries of Freud for vaguer, more mystical interpretations of personality.

1914 to 1918: The Great War brings psychoanalytic practice and publications to a halt.

1920: Psychoanalytical Congress at the Hague. The War helped spread psychoanalysis by bringing home the reality of the psychogenesis of mental illness to the general population. Previously sceptical doctors, put off Freud’s theories by their sexual aspects, were forced to take into account ‘the flight from reality’, ‘the flight into illness’, in the form of shell-shock which had afflicted so many combatants.

Freud says the history of psychoanalysis breaks into two periods: the Heroic Period 1895 to 1906 when he was substantially alone; and 1906 when the Swiss came on board to the time of writing (1925) when a body of analysts has grown in its own right and contributed many new ideas.

Narcissism

One major new addition was the theory of narcissism. Before the ego has identified external objects it takes itself as an object and an element of narcissism never really leaves us.

All through the subject’s life his ego remains the great reservoir of his libido, from which object-cathexes are sent out and into which the libido can stream back again from the objects. Thus narcissistic libido is constantly being transformed into object-libido, and vice-versa. An excellent instance of the length to which this transformation can go is afforded by the state of being in love, whether in a sexual or a sublimated manner, which goes so far [in self-love] as involving a sacrifice of the self.

In 1925, at the period of writing this pamphlet, Freud had entered a new phase. The new concept of narcissism had disrupted the simplicity of the old theory. Previously Freud had divided the instincts into sex-instincts and ego-instincts; into a conflict between sex – operating on the Pleasure Principle – and the ego – working on the Reality Principle. The conflict between these two opposed forces explained repression, neurosis etc.

But if the ego could also be the object of libido, which is what narcissism amounts to, then the two supposedly antagonistic forces are closer together than was previously thought.

Second theory

In 1922 to 1923 Freud wrote Beyond The Pleasure Principle, The Ego and The Id, and Group Psychology and the Analysis of the Ego. Between them these works tried to resolve these contradictions with two innovations:

First, a new topographic theory of the mind incorporated the unconscious drives and instincts into the new and bigger concept of the id; the id provides the energy for the ego, which grows out of it by a process of repression and having to come to grips with the external world i.e. the ego is formed by the clash between the inner Pleasure Principle of the human creature and the harsh unyielding world compressed into the Reality Principle; at a later stage, as we’ve seen above, the child develops the superego or conscience.

But Freud also posited a major new force, the Death Drive. He grouped together all the positive instincts of the earlier theory, all the drives towards satisfaction which seek unity and binding-together, the drives propelling us forwards through life, under the name Eros. In opposition to them, as the drive which seeks dissolution and a return to the inorganic, he posited the existence of a death drive or Thanatos.

The death drive wishes the organism to return to stasis, to achieve peace. The death drive is made up of components which include the wish to suicide – the death wish – a wish to return to the peaceful, unstrife-ridden world of the womb. That’s the death drive turned inwards, against the self. But it can also be directed outwards, sublimated and projected, in the form of aggression towards others.

Freud was well aware that these new developments were highly speculative but the impact of the Great War had shown everyone that as well as sexual or libidinal satisfactions a great deal of vicious violent barbarism made up a major part of the human animal. The death drive is Freud’s attempt to bring together all these anomalies under one roof.

These innovations proved fruitful for future developments in psychoanalysis. The new way of thinking of the ego as the zone of protection for the animal, the place where it learns to mediate between its wild lusts and the restrictions of outer reality, led to research which views many mental activities as essentially defensive.

These psychic mechanisms of defence which the human animal erects were to be investigated in detail by Freud’s daughter, Anna Freud. And the understanding of aggression, of the hate and rage which the tiny animal feels against its parents in the earliest years and which it later projects outwards onto society, these were to be investigated by Melanie Klein.

Social theory

Lastly Freud turns to psychoanalysis’s applications to other spheres of knowledge. Here he refers to the way psychoanalysis has taken off in France mainly in the arts. (As Roy Porter pointed out, in France many of Freud’s discoveries in the realm of the unconscious and developmental theory, already existed in the work of Charcot and Janet and Piaget, so he was not seen as such a ground-breaking pioneer.)

Literature and myth

In the final sections of this essay Freud outlines how he applies the insights of psychoanalysis to other areas. Central is the Oedipus Myth which has haunted all the ages because it is a perfect representation of a universal law of the human mind. Hence the mystique of Shakespeare’s play, Hamlet, which is a more refined application of the same insight. Hamlet is paralysed to revenge his father because Claudius (his father’s murderer) has already acted out Hamlet’s own deepest (repressed) fantasy: he has killed his father and is sleeping with his mother.

Freud’s loyal English disciple Ernest Jones wrote a full-length study of Oedipus and Hamlet. Otto Rank, Freud’s loyal secretary, wrote a compendious book on the Incest Theme in literature and went on to compile an encyclopedic analytical interpretation of The Myth of The Birth of The Hero.

Thus was born a whole new way of relating to, thinking about and interpreting literary and artistic creations, in terms of analysing out the hidden or repressed analytical material, an academic tradition which continues to the present day. Freud in various works devised theories and insights into art, literature and the imagination, which gave them a special privileged place in his theory:

The realm of imagination is a ‘reservation’ made during the painful transition from the pleasure principle to the reality principle in order to provide a substitute for instinctual satisfactions which had to be given up in real life. The artist, like the neurotic, had withdrawn from an unsatisfying reality into this world of imagination; but, unlike the neurotic, he knew how to find a way back from it and once more to get a firm foothold in reality. His creations, works of art, were the imaginary satisfactions of unconscious wishes, just as dreams are; and like them they were in the nature of compromises, since they too were forced to avoid any open conflict with the forces of repression. But they differed from the narcissistic asocial forces of dreaming in that they were calculated to arouse sympathetic interest in other people and were able to invoke and satisfy the same unconscious wishful impulses in them too.

Freud himself applies these insights in his books on Leonardo and on Michelangelo’s famous statue of Moses.

Freudian slips and jokes

He had also expanded the application of psychoanalysis into the psychopathology of everyday life, clearly showing the continuity of the wish-principle in everyday slips of the tongue and accidents which, also, turn out to be messages from the unconscious realm, the ‘return of the repressed’.

In addition there was his study of jokes in Jokes and their Relationship to the Unconscious (1905) which similarly points to the return of embarrassing repressed material in the socially acceptable form of comedy.

Religion

Then he had turned his attention to religion. In the short early essay, Obsessive Actions and Religious Practices (1907) Freud showed that obsessive actions amount to a private religion and that religion amounts to ‘a universal obsessive neurosis’.

In this work Freud then gives a useful summary of Totem and Taboo (1913) in which he had tried to show how the universal taboo on incest and the worship of taboo animals supposed to have fathered the tribe were reducible to primitive attempts to control the Oedipus Complex.

Bearing in mind that many of these tribes every year kill and eat the totem animal (which is otherwise feared and revered) in a special feast, Freud hypothesises:

The father of the primal horde, since he was an unlimited despot, had seized all the women for himself; his sons, being dangerous to him as rivals, had been killed or driven away. One day, however, the sons came together and united to overwhelm, kill and devour their father, who had been their enemy but also their ideal. After the deed they were unable to take over the father’s heritage since they stood in one another’s way.

Under the influence of failure and remorse the learned to come to an agreement among themselves; they banded themselves into a clan of brothers by the help of the ordinances of totemism, which aimed at preventing a repetition of such a deed [the Primal Parricide], and they jointly undertook to forgo the possession of the women on whose account they had killed their father.

They were then driven to finding strange women, and this was the origin of the exogamy which is so closely bound up with totemism. The totem meal was the festival commemorating the fearful deed from which sprang man’s sense of guilt (or ‘original sin’) and which was the beginning at once of social organisation, of religion and of ethical restrictions.

Now whether we suppose that such a possibility was a historical event or not, it brings the formation of religion within the circle of the father complex and bases it upon the ambivalence which dominates that complex.

After the totem animal had ceased to serve as a substitute for him, the primal father, at once feared and hated, revered and envied, became the prototype of God himself.

The son’s rebelliousness and his affection for his father struggled against each other through a constant succession of compromises, which sought on the one hand to atone for the act of parricide and on the other to consolidate the advantages it had brought.

This view of religion throws a particularly clear light upon the psychological basis of Christianity, in which, as we know, the ceremony of the totem meal still survives, with but little distortion, in the form of Communion.

Thus psychoanalysis is able to throw light on the origin of everyday slips, dreams, jokes and humour, morality, art, religious belief and practice, myths and folktales, and shows them all to be different ways of dealing with the same psychological material.

Psychoanalysis has also led to investigations and clarifications of symbolism, building on the symbolism of dreams to look at symbolism in art and religion.

In the field of education Freud singles out Oskar Pfister, author of pedagogical books (and his great interlocutor on religious issues) and, for the analysis of children and greater theorisation of childhood, Freud refers to Melanie Klein and his daughter Anna.

Postscript (1935)

Freud concludes that with the announcement of the topographical structure of the mind (id, ego and superego) and the division of instincts into classes (Eros and the death instinct) he has finished his theoretical contribution. Others are carrying on where he left off.

My interest, after making a lifelong detour through the natural sciences, medicine and psychotherapy, returned to the cultural problems which had fascinated me long before, when I was a youth scarcely old enough for thinking….

I perceived ever more clearly that the events of human history, the interactions between human nature, cultural development and the precipitates of primeval experiences (the most prominent example of which is religion) are no more than a reflection of the dynamic conflicts between the ego, id and the superego, which psychoanalysis studies in the individual – are the very same processes repeated on a wider stage.

Thoughts

Freud was a politician to his fingertips. In a letter to Fliess he described himself as a conquistador and he wasn’t exaggerating. The word indicates the grandiose scale of his ambition and his self-image.

Moses and Monotheism is on one level an attempt to rewrite Jewish history the better to place himself as its logical conclusion. Freud is the new Moses leading the Chosen People of the new science, psychoanalysis, into the Promised Land of scientific understanding and psychological health.

Most of the dreams in The Interpretation are analysed to reveal a mammoth ambition and self-confidence, clearly in part derived from the wish to overcome, to supersede his weakling father Jacob.

Everything he wrote was written with a political aim. The History of the Psychoanalytical Movement (1914) is a case in point, containing as it does a fierce polemic against the acolytes who had recently seceded from the Movement: Alfred Adler who went on to found ‘Individual Psychology’ and Jung who founded ‘Analytical Psychology’.

Seen in this light The Autobiographical Study is interesting because:

  1. it goes to great lengths to convey the strictly scientific nature of his research before psychoanalysis came along and to demonstrate the continuity of psychoanalysis with mainstream science
  2. it seeks to put the record straight on his relations with Janet. Pierre Janet, a disciple of Charcot’s, was the founder of modern psychology in France and the French (with typical chauvinism) claimed that Freud had come to France, purloined all their ideas, then dressed it up in heavy Germanic philosophical terms
  3. Freud reproves the entire profession of philosophy for not being capable of fitting his concepts into their intricate systems of words, which is why he had a lifelong indifference or dismissal of philosophy as irrelevant to his discoveries which he always, of course, were based on facts not mystifying word games

Freud’s Antiquity: Object, Idea, Desire @ the Freud Museum

The Freud Museum

The Freud Museum is located at 20 Maresfield Gardens, London NW3 5SX, a 6 or 7 minute walk from Finchley Road tube station.

It’s the house which Freud’s English colleagues and supporters bought for him and his family to come to after the Nazis annexed Austria, and Freud’s lifelong home town of Vienna, in March 1938, forcing him to flee the country.

Freud himself was already very ill with the throat cancer which would kill him 18 months later in September 1939. But after his death Maresfield Gardens remained the Freud family home until his daughter, Anna Freud, herself a pioneer of child psychoanalysis, died in 1982. The house opened as a museum four years later.

It’s a fascinating place to visit at any time, light and clean and airy, with a comprehensive bookshop at the back, opening into a leafy London garden.

But the centrepiece of the museum is the ground floor where Freud recreated the study from his house in Vienna and which has been lovingly restored to how it was in his time. You can see the desk where he wrote so many great works, his bookshelves packed with leather-bound volumes of psychology, history and literature.

Freud’s desk at the Freud Museum, London (photo by the author)

You can see the famous couch, smothered in dark patterned rugs, where his patients came and lay and free associated their thoughts, projecting their hopes and fears and fantasies onto the inventor of psychoanalysis, who sat quietly listening.

Freud’s couch at the Freud Museum (photo by the author)

So far, so Victorian, in décor and furnishings.

But maybe the most striking and unexpected aspect of the room is the astonishing number of antiquities scattered everywhere. There are half a dozen or more glass cases packed with ancient statuettes and figurines, vases and jugs, there are busts on platforms and stands, lined up along shelves all round the room, and a double row of small antique figurines on his desk right in front of him, in his field of vision every day as he either wrote or listened to his patients.

Freud was an obsessive collector of ancient figures and antiquities all his life, building up a collection of several thousand by the time he died, and literally hundreds are stacked on shelves, in cases, on mantlepieces and stands. Everywhere you look, in every direction, hundreds of ancestral presences sit silently, looking out at you with a cold timeless regard, from very angle.

Another view of Freud’s study, showing desk (in the foreground), shelves and glass cases packed with antiquities

And that’s what this exhibition is about. It’s a small but powerful exploration of Freud’s lifelong fascination with archaeology and antiquity and the role they played in his writings, his practice, in his deepest formulations of the new ‘science’ of psychoanalysis which he invented and developed through 40 intensely productive years, and in the successive models of the human mind which he developed, refined and publicised.

Freudian reservations

Let me explain my position regarding Freud. Very like the other two world-shattering geniuses, Karl Marx and Charles Darwin, Freud’s influence is so enormous and all-pervasive, so underpins almost everybody’s modern notions of human nature and our behaviour in the world, that it’s more or less irrelevant whether most or all of it is ‘true’ or not.

The various versions of his theories and the hundreds of insights they generate have provided mental maps, sociological constructs amounting to an entire worldview which we all now inhabit, thronged with insights, phrases and terminology (Freudian slip, the unconscious, the ego, being repressed, ‘anal’ behaviour, Oedipal conflict) which are freely used in newspapers, magazines and conversation.

With regard to the psychoanalytical method – the talking cure – my understanding is that many scientific trials have been undertaken to assess the efficacy of psychoanalytical therapy compared with other depth psychologies, with more orthodox psychiatric treatment, with cognitive behavioural therapy (CBT), and with drugs. But the attempt is problematic for quite a few reasons. For a start no two people are alike so what works for one patient might simply not work for another. It’s impossible or very challenging to set up a double-blind, controlled study.

For another thing, Freudian psychoanalysis doesn’t necessarily aim at a fixed outcome. CBT may cure a symptom which is preventing you from living your life happily, but Freudians would say it’s only addressed a symptom, not the underlying cause. Freudian psychoanalysis can be open-ended, can indeed last the whole of the rest of your life – which leads cynics and critics to attack it as a money-making scam, hooking the vulnerable into an endless sequence of sessions, at an exorbitant fee.

I was offered and took depth therapy on the NHS in my 20s, and know lots of people who’ve had extended psychotherapy of one sort or another. It didn’t cure me of anything but it certainly helped to be listened to, at length, discussing issues and memories which became quite painful to recall.

Nut even then, in the 1980s, there were lots of varieties and schools and flavours of psychotherapy and my understanding is that the range of practices and theories underlining them has continued to grow. But my understanding is that Freud invented the paradigm of counselling, of extended therapy which aims to dig deep to resolve deep psychological problems, on which all other schools of therapy are based.

Another line of attack is the number of scandals which have come to light about abusive analysts, drunk analysts, power-mad analysts, and so on. The analyst-analysand (therapist-patient) relationship does give the therapist an unprecedented amount of power to steer and control the emotional lives of the very vulnerable. But my understanding is that this kind of thing, like the abuse of power in many other positions (in the church, in sports coaching) can be reported and handled by the relevant professional bodies as well as the police and legal system.

Another line of attack comes from feminists who, right from the start, pointed out the hair-raisingly sexist nature of almost everything Freud wrote and protested his engrained view of women as biologically, physically and mentally inferior to men. You can’t deny it, it’s there on almost every page, along with entire essays dedicated to proving women’s inferiority. Feminist Freudians have tried to overwrite concepts like the notorious ‘penis envy’ which he thought girls and women suffered from, but  in this and many other concepts and assumptions, Freud remains rebarbatively sexist.

Then there’s the earliest and most unimaginative argument against Freud, that his obsession with sex, sexual drives, libido, anal eroticism, fetishism and so on prove that he himself was a sex maniac, a pervert, and so discredit the theory. You can see why a one-sided reading of his earlier theory, especially the early focus on the sexuality of children, would trigger this attack. But, for me, it betrays ignorance of the wider context of the theory which, especially in its later, expanded form, is just as interested in aggression, anger, depression, group psychology, and spends a lot of time exploring the idea of the conscience, the part of the mind which holds us to high standards and punishes us for our failures.

And most powerful of all is the accusation that, although many of his patients in the 1890s told him they had suffered real, physical sexual abuse as children, he was so disturbed by its apparent ubiquity that he couldn’t countenance it, couldn’t accept it; and that one of his central claims – that children fantasise about sexual activity (sex with the parent of the opposite sex, while hating the parent of the same sex, the insight he named the Oedipus complex) – was a denial of the reality of child abuse; that  Freud made what we now regard as the cardinal sin when treating child abuse, which is to refuse to listen and refuse to believe what his patients were telling him.

If true, this was obviously shameful for a physician, sworn to help his patients; but, more powerfully, successive critics have argued that this rejection of actual real-world abuse compromises his entire theory, leading to the accusation that the entire theory is based on a self-serving lie. His rejection of the fact of child abuse and transformation of it into the realm of infantile fantasy may be the most difficult accusation to counter and one which resonates to this day.

So I hope I’m aware of the battery of arguments which can be brought against Freud the man, against his theories, against his personal attitudes, against the inefficacy and/or luxury nature of his type of therapy, of the disproveability of the efficacy of the talking cure, along with plentiful historical examples of its abuse.

But, in my opinion, although many of these attacks deserve to be taken seriously, especially the final one, none of them can really dent the incalculable impact, for good or ill, which Freud has had on the vast shared set of values, ideas, concepts, phrases and ideas which we call Western culture.

Ancient figurine of the sphinx, central player in the legend of Oedipus, symbolising for Freud, as for generations of thinkers before him, the riddle of human existence, but which Freud boldly (arrogantly) thought he had solved

Until Freud’s time most psychologists, most philosophers and lawyers and, following them, most people thought of the human mind as basically Rational, a thinking machine which is aware of its own thoughts, can order and control them, home to Reason which guides our behaviour to rational, definable ends.

If people behaved irrationally then experts directly involved with human nature, such as philosophers or theologians or lawyers, developed explanations and excuses for this falling away from Ideal reason, ideas of possession by outside forces, or temporary madness and so on, notions which explained away people’s irrational behaviour in such a way as to preserve the basic premise that man is the Rational Animal.

In the Christian tradition which dominated western thought for a thousand years, and which in fact predates Christianity, going back through Stoic philosophy for centuries before Christ (cf Cicero and Seneca) – in this immense tradition, human beings have been endowed with reason by the Creator of the universe and, although this spark of Divine Reason may sometimes be clouded by ‘passions’ or frenzy or extreme emotion or drink or drugs, these are temporary aberrations from the basically rational soul which God has given each of us.

Freud’s theory blasts this model to smithereens. By the 1890s there had been plenty of secular thinkers, especially in the life sciences which were swiftly converted to Darwin’s revolutionary theory of evolution by natural selection, but no-one who undermined the old models of a God-given, rational mind so completely.

For Freud the mind is a battlefield, a site of endless conflict between conflicting psychological forces, drives, urges, instincts, wishes, dreams, fantasies, angers, anxieties and many more. His fundamental insight was that the human mind, far from growing into a stable, mature and reliable tool for managing our way through the world, is a dynamic, ever-changing site of tremendous psychic conflict.

Because – second big idea – the majority of mental activity is unconscious. We are only dimly aware or not aware at all, of the tremendous forces, urges, drives and so on which motivate us every waking moment and haunt us in our dreams. Why do so many people behave so irrationally? Why are so many people in the grip of compulsive behaviour which they know is self-destructive (smoking, alcohol, over-eating, drugs, risk-taking, outbursts of psychopathic anger or helpless despair) yet feel powerless to change?

Because we are driven by tremendously powerful unconscious forces which we repress and prevent ever emerging into full consciousness.

As Freud stumbled deeper into these discoveries in the 1980s, trying to make sense of what his clinical patients were telling him, engaging in the slightly dubious ‘self analysis’ of his own dreams and memories and feelings, and corresponding with his friend and intellectual confidant Wilhelm Fliess, he threw again and again used metaphors around the idea of having to dig down below the level of conscious thought, having to excavate layer after layer to get down to the basic fears, anxieties and so on which seemed to be driving his patients.

“Thus it came about that in this, the first full-length analysis of a hysteria undertaken by me, I arrived at a procedure which I later developed into a regular method and employed deliberately. This procedure was one of clearing away the pathogenic psychical material layer by layer, and we liked to compare it with the technique of excavating a buried city.”
(Studies on Hysteria, 1895)

Again and again Freud referred to the work he was doing with his patients to try and rediscover their childhood memories in order to free them of their adult illnesses, and the parallel work he was doing on himself, digging deeper and deeper into his own repressed memories, as forms of archaeology.

And it’s this, the meeting place between Freud’s continua use of the metaphor of excavation and archaeology, and the ancient objects derived from the actual practice of real world archaeology which Freud obsessively collected and packed into his study and invoked in his writings from the start to the end of his career as a thinker and writer – which this exhibition addresses and explores. Which it excavates.

The exhibition

The exhibition space is upstairs. It’s only one room but, considering the ideas whose origin it describes and investigates went on to transform all human culture and to underpin how almost everyone alive today conceives of human nature and of themselves, it feels like it contains an entire world. An atom bomb of ideas.

Installation view of ‘Freud’s Antiquity: Object, Idea, Desire’ at the Freud Museum, showing three of the six themes and their display cases, being Oedipus, Charcot and Dreams. Note the small number of items on display. But it isn’t the number of artefacts, it’s the ideas behind them that fill the room.

Exhibition structure

The exhibition selects twenty-five key objects – antiquities, figurines and statuettes, books and prints – each normally hidden from view, extracted from the clutter of Freud’s study for special attention and investigation at close range, to illustrate how Freud’s collecting was bound up with his development of the concepts and methods of psychoanalysis.

The exhibition is divided into six themes, which I’ll briefly list here then explore in greater detail:

  1. Oedipus:
  2. Charcot
  3. Dreams
  4. Gradiva
  5. Totem and Taboo
  6. Moses

1. Oedipus: the riddle of desire

Inevitably the narrative must start with Oedipus who gave his name to Freud’s notion of the Oedipus Complex. This is in fact just one part of the process of growth and maturing which Freud thought all boys go through. At around the age of 5 all boys have grown enough, and experienced enough pre-pubescent sexual feeling, to sense that they want to be very close to their mother and come to resent their father’s possession of her. In the unconscious mind, the boy wants to have sex with his mother and kill his father. Freud introduced the idea in The Interpretation of Dreams (1899) and coined the term in his paper A Special Type of Choice of Object made by Men (1910).

The Oedipus story is super well-known ad previous thinkers had interpreted it and its symbolism. Freud used it to dramatise what he saw as a universal condition, a universal experience of all growing boys which they have to completely suppress in order to mature properly, but whose repression leaves its marks on the adult and, in some men, is constantly threatening to return, so that it has to be staved off with harsh mental defences which sometimes result in florid mental beliefs, patterns and behaviour.

But early on in the myth of Oedipus he has to solve the riddle put to him by the sphinx and so the story had another significance for Freud: for trying to excavate down into the psyche of each patient could also be described as solving their riddle.

Objects on display

On display from Freud’s collection are six objects connected with Oedipus, three vases, a statuette, an amulet and a print of Ingres’ classic painting of Oedipus and the Sphinx.

2. Charcot: from iconography to archaeology

Jean-Martin Charcot was a French neurologist and professor of anatomical pathology. Freud went to study with him in Paris in 1885 (when Freud, born in 1856, was 29). Charcot used hypnosis to treat patients who displayed physical symptoms with no organic cause, a class of patients categorised as ‘hysterics’. His work made the subject of ‘hysteria’ a popular one for doctors interested in psychology across Europe. A book was published containing comprehensive descriptions of Charcot’s work and numerous prints of his hypnosis of hundreds of patients.

A Clinical Lesson at the Salp​etri​ere​. Print of engraving by E. Pirodon after the oil painting by Andre Brouillet​ (​1888​)

But this stuff about Charcot is really here because Charcot was about the surface. There was a fair amount of showmanship in Charcot’s demonstrations, made to auditoriums full of admiring students, and Freud came to dislike the way Charcot exaggerated the patient’s superficial symptoms in order to cure them.

In reaction against Charcot, Freud set off in the opposite direction. His cures would be conducted not in public but in private; they would not be wonder cures achieved in one flashy demonstration, but the result of sustained engagement over a prolonged period of time. And above all they would not work by bringing florid symptoms (hysteria, weeping, sobbing, moaning, screaming) to the surface of the human mind, but quite the opposite, entail a systematic, extended, and ever-deeper excavation down through layer after layer of the human psyche.

Which is why the exhibition places next to the Charcot print a copy of the big leather-bound volume of Ilios, the huge work in which the German archaeologist Heinrich Schliemann described his discovery of the legendary city of Troy (in western Turkey). Freud was going to be an archaeologist of the human psyche.

3. Dreams: decoding the way to the wish

From ancient times through the Middle Ages and Renaissance, dreams were given a special place as omens, as warnings from the gods, as indicators of good or bad fortune for the dreamer, and thousands of books had been written interpreting the universal symbolism of dreams. In 1880s and 1890s scientific circles the view was the opposite: that dreams are the meaningless by-products of physiological processes of the mind.

In his breakthrough book, The Interpretation of Dreams, Freud proposed a middle way: that dreams do have a meaning, a symbolic purpose, but that they are not universal to mankind. Each dream has a meaning which is specific to the dreamer. Each dreamer’s mind selects images which symbolise individual and specific hopes, fears etc.

Each dream is a wish fulfilment but what exactly the wish is, and how it is converted into particular images, can only be established by lengthy, in-depth excavation down through the layers of the conscious mind and into each patient’s unconscious.

The display case shows an ancient wine jug, a bust and a warrior figurine. The Interpretation of Dreams includes scores of Freud’s own dreams. In one of them his wife Martha gives him a drink from an Etruscan cinerary urn like the one on display here. The urn represents satisfaction of a basic instinct (thirst) but also symbolises the wished-for return of an object like it which he had given away then regretted.

It’s a fairly simple demonstration of the way we humans give objects multiple everyday or conscious meanings, and then how images of the objects are recombined in the unconscious to emerge in strange combinations, accompanied by sometimes haunting, sometimes terrifying, sometimes blissful emotional feelings, in our dreamlife.

4. Gradiva: tracing the pathways of archaeological desire

Gradiva plays a special role in the history of Freud’s writing about writing i.e. about literature, which he was to come to have such a seismic influence on. In 1907 he published his first full-length analysis of a literary text, a novel by the German writer and poet Wilhelm Jensen titled Gradiva: A Pompeian Fantasy which had been published in Vienna in 1902, so it was quite a current work.

Straightaway the word Pompeii should alert us to the fact that the book is going to play straight into Freud’s fascination with ancient ruins. Freud refers to the relevance of Pompeii, where secrets had been long buried and were now being excavated and restored to the light, to his own concepts of psychoanalytical therapy, in his letters to Fliess in the mid-1890s, and he actually visited Pompeii itself in 1902.

In this novel the hero, Norbert Hanold, who is studying archaeology, ‘falls in love with’ (becomes obsessed with) an ancient bas-relief of a young woman striding along in a Roman toga.

Cast relief of ‘Gradiva’​ (​1908​)

Since the relief was found as part of the excavation of the buried city of Pompeii (just recently being unearthed) the hero decides to travel to Italy, and to the archaeological site, to find this woman, or her spirit, or her reincarnation.

So you can straightaway see how the novel is about a man in the grip of a delusion and a compulsion, psychological territory Freud was striving to make his own during the later 1890s and early 1900s.

In the end, after failing to find the modern avatar of the beautiful statue anywhere in the real world and after some painful self-analysis, Hanold comes to realise that who the woman reminds him of is a childhood friend who lives opposite him back home, returns, tells her of his love etc.

For Freud the novel is rich in confirmations of his theories. The hero had youthful erotic feelings for this neighbour but his strict upbringing forbade him from acknowledging them. Instead he repressed them and sublimated them i.e. redirected his psychic energy into the socially acceptable medium of studying archaeology and ancient history.

When he came across the bas relief as part of his studies, he was seized, possessed by something about it which he couldn’t define. Well, that’s because he had completely repressed his childhood longing for his sweetheart. the feeling remained but divorced from its source. So the bas relief became what Freud calls a compromise formation i.e. a real-world object which can ‘satisfy’ his libidinal drive and desire, but in a socially acceptable mode (i.e. a perfectly natural part of his adult studies).

The obsession he develops with it, however, obviously goes beyond the bounds of the ‘normal’ and this is like the patients who came to see Freud, people in the grip of obsessive, compulsive, neurotic thoughts or behaviour which they couldn’t explain and couldn’t shake off.

It also plays right into Freud’s hands that the hero is depicted as having numerous florid and bizarre dreams, thus allowing Freud to apply the insights he’d recorded in The Interpretation of Dreams to show how Hanold’s dreams were continually urging acknowledgement of his real-world love, but were blocked from doing so by the forces of repression and so emerged in complex combinations of symbols and imagery.

And the way the heroine, Zoe, cares for Hanold after his breakdown, slowly coaxing him back to health and to accept his love for her, is comparable to the psychoanalytic method Freud had devised, the famous listening cure.

Objects on display

On another level, the novel is about the journey of a repressed north European to the warm south which has, for centuries, symbolised release into and acceptance a world of sensual pleasures which we uptight northerners deny ourselves in order to function in our advanced capitalist economies.

The excavations of Herculaneum and Pompeii had unearthed a surprising number of explicitly sexual objects, specifically depictions of the erect penis, often with wings, a magical object worthy of veneration or kept as a lucky charm or amulet. The fact that this is still regarded as shocking or bizarre shows you how far we are from the ancient world’s frank acceptance of the facts of sex.

Six phallic objects and amulets from various cultures of antiquity, part of Freud’s collection. You are free to regard these as sinister, sexually suggestive, funny (as I do), or as examples of the ancient world’s frank acknowledgement of the importance of sexuality in human life, which had to be censored, suppressed and policed in industrialised, capitalist societies. At the same time, this or any other view you have is quite obviously a projection of your own personal ideas, memories, associations and patterns of thought onto simple, cold, inanimate objects, and it is this power of mental projection onto objects which it is part of the aim of the exhibition to both explore and to demonstrate.

5. Totem and Taboo: the search for origins

Another criticism of Freud is that he quite early on strayed beyond his area of supposed expertise i.e. psychology (theory of the mind) and psychiatry (practical cure of mental illness) into subjects quite beyond his speciality. And it’s true. He not only produced a substantial body of literary and art criticism (essays and book-length studies) but did the same in anthropology and theology.

In 1913 he published Totem and Taboo. It was partly a response to his protegé Carl Jung who was rebelling against Freud’s insistence on the centrality of repressed sexuality and the Oedipus Complex in all human development. Therefore it ups the stakes by asserting that the Oedipus Complex is not only a part of the normal development of every boy, but explains a founding event in actual, real-world history.

Freud asserted that the founding event of ancient societies was an actual parricide, where the sons of the chief rose up and killed him, then claimed access to the queen or women of the harem. A sexual rebellion. But, crippled by guilt at murdering their father, the sons then set about repressing all memory of it, denying and blocking anything which would indicate their great crime. And this is the origin of the compulsive taboos which contemporary anthropologists observed in so many ‘primitive’ societies.

Freud then goes on to make the grandiose claim that this Primal Event was the foundation stone of all religion, morality, society and related art.

Objects on display

On display are copies of ‘The Golden Bough: A Study in Comparative Religion’, the hugely influential compendium of myths, legends gathered from all round the world by the Scottish anthropologist Sir James George Frazer, which influenced a generation of writers and thinkers. A two-volume edition had been published in 1890 but Freud owned the twelve volumes of the third edition, published serially from 1906 to 1915. His copies, some of which are on display here, are covered with pencilled notes and he incorporated much material from the book into Totem.

Amusingly, Freud sent a copy of Totem and Taboo to Fraser, who didn’t deign to reply.

The curators don’t mention this but my understanding is that almost every aspect of Totem and Taboo has been disproved. It very obviously represents a kind of imperial ambition by Freud to move his theory out of the world of private practice and discreet papers written for specialist journals, and stake a claim to making major discoveries in history, anthropology, the origins of religion, morality and so on.

Although the specific claims made about ‘primitive’ societies being comprehensively rejected by actual anthropologists, Freud successfully made a new myth about himself and his role as explainer of everything. It was the kind of grandiose ambition which drove one-time followers like Jung, and others like Adler and Rank, to secede from the official psychoanalytic movement and set up their own variations.

A digression on Freud’s sociological writings

This world-claiming ambition, this tendency to stray way beyond his area of expertise and set himself up as a master explainer of society is evident in many of Freud’s later works. In The Future of An Illusion (1927) he sets out to disprove religious belief by rewriting every religious belief and practice in terms of psychoanalytic terminology (repression of sexual urges, ‘sublimated’ into love of an all-powerful father, accompanied by a world of obsessive-compulsive rituals and ceremonies).

In 1930’s Civilization and Its Discontents Freud applies psychoanalysis to sociology, arguing that modern, mass, industrial, capitalist societies need to enforce widespread suppression and control of people’s libidinal urges, not just to sex but to express other needs and drives, and it is this systematic repression of human needs which makes so many people unhappy in modern society. In many ways this turned out to be Freud’s most influential work, because it influenced social reformers and would-be revolutionaries, especially in the utopian 1960s.

Anyway, this final display is about Freud’s deepest foray into myth, legend and so on as he took on the roots of Christianity and, behind it, of Christianity’s parent, Judaism.

Freud was a Jew who accepted his secular inheritance but rejected the religious aspects of Judaism. Running alongside the obsessive references to archaeology throughout his writing career, which this exhibition focuses on, was Freud’s parallel obsession with denying and debunking religious belief and practice at every opportunity.

There are quite a few Freudian explanations of this noticeable obsession. One is that he was guilty about rejecting the religion of his forefathers and so spent his entire life trying to deny its reality. A subtler one is that Freud didn’t so much deny the reality of the Jewish religion as attempt to rewrite it in his own terms. In his imperial way, he attempted to overwrite religion, to write it away. Coming from a different angle, you could say that this ‘obsession’ was a response to the lifelong anti-semitism which he and his family and Jewish friends and colleagues suffered on an almost daily basis, in personal encounters but also in the press and culture of turn of the century Vienna.

Everyone mentions the fact that from 1897 to 1910 Vienna was run by the unusually powerful mayor, Karl Lueger, who oversaw the transformation of the city into a modern metropolis but at the same time exploited populist and anti-semitic feeling, legitimising widespread and semi-official antisemitism which some historians think established a model for the psychotic racism promoted by Adolf Hitler who was, of course, Austrian and an impressionable teenager during Lueger’s time in office.

You can take your pick of interpretations or mix and match all of them and this, also, is a Freudian idea which he called over-determination. In The Interpretation of Dreams Freud speculated that individual dream images or narratives can operate on multiple levels or be representing more than one wish or drive. Same with the symptoms his patients presented with. Overdetermination occurs when a single-observed effect is determined by multiple causes any one of which alone would be sufficient to account for the effect.

Thus I routinely describe historical events as ‘over determined’, such as the First World War, for which historians have proposed a vast number of causes. The Freudian notion of over-determination i.e. multiple cause for one event, frees you up, allows you to accept a number of different explanations, allows you to experiment with apportioning different levels of responsibility for different events.

It’s an example of the way Freud’s theory gives conceptual definition to the complexity of life, motivation, simple and complex events which we all know are multi-levelled and multi-motivated. Freud’s theory provides a theoretical underpinning for this multiplicity of viewpoints, about anything.

6. Moses: the return of the repressed

Freud’s last published work was not a grand summary of his theory (although he was working on one, which remained unfinished). It was the long, densely argued and eccentric work of religious sociology, Moses and Monotheism. In it he applies the Oedipus story to the entire history of the Jewish people, his people, in an attempt to dethrone the founder of Judaism, Moses. It was itself a nakedly Oedipal attempt to overthrow the father and assert his (Freud’s) moral and intellectual independence.

For Freud makes the scandalous assertion that Moses was not himself Jewish. Freud argues that Moses was in fact an Egyptian prince, but one who followed the heretical teachings of the pharaoh Akhenaten. From what we can tell, Akhenaten, the tenth pharaoh of the 18th dynasty, who ruled from 1353 to 1336 BC, attempted to overthrow the Egyptians’ traditional polytheism i.e. belief in a large and florid pantheon of gods, and replace it with worship of the One True God.

Tasked with overseeing the Israelite captives in their slave tasks, this Egyptian prince, Moses, tried to impose Akhenaten’s strict monotheism on them but they rose up and, as in the classic Oedipal narrative, murdered their father figure. But, like all good Oedipal actors, they then couldn’t cope with the guilt of their deed and repressed it, wiping out all memory of the historical event, and instead reinventing Moses as one of their own and a wise and good teacher.

Following the basic model of the mind he had postulated as long ago as 1897, Freud speculated that knowledge of their collective murder kept threatening to leak out and so the Jews, as a people, instituted a comprehensive system of taboos and restrictions, the most famous being not to eat pork, but there are hundreds of others. As time went by these taboos were expanded and elaborated until they dictated almost every aspect of everyday life, as well as a host of religious rituals.

This last display takes Moses and Monotheism to be not only the climax of Freud’s career as a writer but of his vaulting ambition to establish a psychoanalytical version of human history, society, and the origins of religion and morality. Like Totem and Taboo there’s something slightly mad about this book, disreputable about its theories and the interpretations which Freud applies to history and strain to breaking point. It’s absurd. But there’s also something awe inspiring about the man’s grandiose ambition.

If you stop thinking about it as a serious piece of archaeology or sociology and consider it as simply a piece of imaginative writing, the ambition and the ingenuity with which Freud attaches his theory to every aspect of Jewish history, theology and practice are dizzying.

Objects on display

A small statuette of the Egyptian god Amon-Ra, who Akhenaten promoted as the one true God. A print of Rembrandt’s famous painting of Moses coming down from the mountain holding the tablets of the law. An edition of the Philippson edition of the German Bible. And a small hannukah lamp, associated with domestic Jewish ritual.

The end wall and right-hand wall of the exhibition, showing the section about Gradiva (at the end) and Totem and Moses, on the right

Objects and meanings

The title of the exhibition includes the word ‘objects’ because among Freud’s many insights is the way all of us project wishes, desires, anxieties onto all the objects around us all the time. We not only relentlessly anthropomorphise the world – that’s level one psychology; we also personalise the world by investing all manner of objects around us with value and meaning. And these meanings alter over time, over very short periods as our moods or memories change, as events invest them with new auras of meaning, some of them over lifetimes.

In other words, all the objects around us are invested with some measure of significance, we can’t stop ourselves. And so the exhibition’s attention to the objects which Freud a) collected obsessively b) positioned all around him in his working environment c) described, discussed, referred to and invoked endlessly in all his writings from start to finish is both an ‘exploration’ of the significance of some of the objects, but also the evocation of all kinds of associations and feelings in us, the visitors.

H.D.’s interpretation

Freud arrived in London before his belongings. When these arrived, especially the crates containing his carefully wrapped antiquities, his friend and former patient, the American poet H.D., sent Freud a bunch of gardenias with a note ‘to greet the return of the Gods’.

HD is also represented by a short but powerful quote on the main introductory wall label. Here she is recorded as noting, in her memoir of Freud and her psychoanalytical treatment, what we’ve already observed, that his rather staggering array of figurines, statuettes and antiquities were intimately bound up with his development of the concepts and methods of psychoanalysis. But she goes on to say something more. She has the insight that they helped Freud to ‘stabilise the evanescent thought’ that was continually at risk of dissipation.

This is a new and powerful insight. I’ve already mentioned the idea of ambivalence, which follows from Freud’s dual structure of the mind (conscious mind struggling to repress all kinds of unconscious urges). Once developed, this explains how we can all have ambivalent or contradictory feelings about objects, because there is so much going on in the unconscious which we’re not aware of, and because the human psyche’s tendency to project these feelings, moods, anxieties, desires onto all manner of inanimate objects around us.

So much for ambivalence. And so much for the notion that Freud used the antiquities to inspire his ideas about excavating and archaeology. It’s a typically voodoo, Freudian, psychoanalytical insight, one which appears absurd on the surface but slowly makes more sense the more you ponder it, that the figurines littering his desk and study, also in some sense, limited and controlled his thought.

Because if there’s one thing about Freud’s achievement as a writer, it’s that he was so very fecund with ideas. From the initial insights around 1900 were to spring an exploding, ever-ramifying, ever-more complex system or network or matrix of ideas and insights and categories and theories and terminology which he never ceased developing and refining, and which he consciously amplified and spread beyond psychology into disciplines far removed from his area of expertise, as this exhibition makes abundantly clear.

So maybe the figurines not only inspired his writing (and his treatment) but also brought him back to the thing he started writing about, focused things back on the project in hand. They were instruments of inspiration and control.

Who’s to say whether this is ‘true’ or not, but by this stage, hopefully, you have joined me in not being so concerned about the truth of a lot of this so much as its interpretive and, above all discursive power. It enables the imagination. Psychoanalysis’s uncanny combination of scientific phraseology applied to ideas which sometimes seem acute, sometimes way off beam, sometimes suck you in and make you see the world in a completely different way, this all leaves the pragmatic world of truth values far behind as we go romping through a wild and shaggy, dense and huge, huge and fascinating imaginative realm.

Three figurines from Freud’s collection. Which one – smooth elegant Egyptian, primitive fertility figure, or happy dancer – do you identify with, and why?

Digital archive

The exhibition is accompanied by a digital multimedia resource, containing video recordings, podcasts, photos of rarely seen objects from the collection, and a list of suggested reading.


Related links

The Freud Museum has had a previous exhibition specifically on the theme of archaeology:

Related books

The Museum has produced a comprehensive catalogue for the exhibition, with essays expanding the themes raised in the wall labels. But, unsurprisingly, there also turn out to be quite a few book-length academic studies of Freud’s fascination with antiquity and obsession with collecting:

The Demolished Man by Alfred Bester (1953)

Bester is not a subtle writer. This is his first novel and it opens with the main character waking screaming from a nightmare, and then keeps up more or less the same helter-skelter, overdriven pace throughout. Everyone is running around shouting, arguing, fighting, partying. It’s full of what my kids’ primary school teachers used to call ‘doing’ words:

  • Reich tore out of Personnel…
  • He returned to his own office and paced in a fury…
  • With a roar of rage, Reich snatched up a gold paper-weight and hurled it into the crystal screen…
  • Reich swore feverishly all the way down from the tower apartment to the cellar garage…
  • Reich hurled himself to the ground…

Slam, bam, thank you ma’am. Or, as the characters say, using the latest zippy catchphrase:

‘Pip,’ she said.
‘Pop,’ he said.
‘Bim,’ she said.
‘Bam,’ he said.

24th century telepathy

The Demolished Man is set in the 24th century when telepathy has become common, boring and mundane. Telepaths are called Espers (extra-sensory perception) or, colloquially, ‘peepers’. They have an Esper Guild, which holds exams and enforces rules. There are some 100,000 3rd class Espers in the Esper guild (who can send and receive simple messages, mind to mind), and 10,000 2nd class Espers (who can penetrate some way into a person’s thoughts), and about 1,000 1st class Espers (who can read anything in another person’s mind, drilling right down into their unconscious mind).

Multi-millionaire boss of the multi-planet corporation Monarch Industries, Ben Reich, wakes from a terrifying dream, screaming because he is haunted every night by ‘The Man With No Face’. His  staff analyst, Carson Breen, Esper Medical Doctor 2, therapist, tells him what he already suspects, that this figure is a symbol of his powerful business rival, Craye D’Courtney, owner of the powerful D’Courtney Cartel. In between zipping all over New York (a city of 17.5 million in the 24th century) supervising his multinational corporation, Reich conceives the simple idea of murdering his rival and thus stopping his anxiety dreams, an ambition which becomes burning after D’Courtney rejects merger talks Reich sends him via coded telegram. Right!

He returned to his own office and paced in a fury for five minutes. ‘It’s no use,’ he muttered. ‘I know I’ll have to kill him. He won’t accept merger. Why should he? He’s licked me and he knows it. I’ll have to kill him and I’ll need help. Peeper help.’

Murder is unknown

Peeper help, yes, because it turns out that nobody has committed a murder for generations.

This is the basic idea of the plot: in a world of powerful telepaths, murder – in fact most forms of crime – are impossible, because Espers or peepers will read a criminal’s plans beforehand, and can certainly be hired to track down the guilty afterwards.

So the initial interest of the book, such as it is, is How do you commit a murder in a world where minds can be read? In fact, the answer turns out to be, pretty easily. Reich pays a young woman working in the equivalent of Tin Pan Alley, Duffy Wyg&, to sing him a song so horribly catchy that all he has to do is think it and it completely blocks his thinking from all peepers. Then he blackmails a former peeper who helped him once before and got thrown out of the Espers Guild for his pains, Jerry Church, and who now runs a pawn shop, to sell him an antique, rather odd-sounding ‘knife-gun’.(Not many of them about in the peaceful future.)

Lastly, Reich pays a high-powered Esper, Gus Tate, to establish that D’Courtney is visiting Terra from his base on Mars (humans appear to have colonised Mars and Venus, Reich has a digital clock showing the time on earth, Mars and Venus – later there are quick jaunts to the moons of Jupiter and a vast pleasurecentre which has been built in space). So Reich ascertains that D’Courtney is staying at the house of notorious socialite Madame Maria Beaumont – nicknamed the Gilt Corpse and recipient of vast amounts of plastic surgery which she likes to show off by dressing in the fashionable half-naked style of the times.

The murder

So Reich makes his plans. He sends Madame Maria a copy of an old book of party games which includes the instructions for Sardines (one person hides, everyone else looks for them, as they find them the seekers join the hider, until only one seekers is left; they’re the loser). She is enchanted and, once her party is underway, from a raised platform tells the semi-naked fashionable guests they’re going to play it. The lights go off and – this being a titillating, pulpy novel – most of the guests proceed to take off the remainder of their clothes amid squeals and giggles.

These are exactly the conditions Reich had intended, ideal for making his way through the darkness to the secret upper-floor room where his Esper, Tate, has ascertained that D’Courtney is hiding.

Reich has come armed with stun capsules, to be precise:

They were cubes of copper, half the size of fulminating caps, but twice as deadly. When they were broken open, they erupted a dazzling blue flare that ionized the Rhodopsin—the visual purple in the retina of the eye—blinding the victim and abolishing his perception of time and space.

He throws these into the ante-room to paralyse the two guards, then pushes into the main room to encounter D’Courtney who turns out to be a frail old man who can barely stand and barely talk. He is, apparently, struggling to make peace with bullish Reich and agree and reconcile, when the door bursts open and D’Courtney’s half-dressed blonde daughter, Barbara, comes racing in begging Reich not to hurt her father.

Too late. Reich grabs the fragile old man, grabs his head, forces the pistol into his mouth and shoots him through the mouth and bottom of the brain. Corpse falls to floor. Daughter runs out screaming. Reich turns, tries to follow her through the pitch-dark mansion, gets caught back up in the game, the hostess announces he is the loser since he’s the only one not in her secret hiding place, party lights come back on as guests exit the hiding place and refill the main room where she’s making a jokey speech to Reich when everyone notices blood dripping onto his clothes through the ceiling above. Hostess screams. Someone calls the cops.

Lincoln Powell, the Prefect of the Police Psychotic Division

Apparently, a police procedural is:

a subgenre of procedural drama and detective fiction that emphasizes the investigative procedure of a police officer or department as the protagonist(s), as contrasted with other genres that focus on either a private detective, amateur investigator or characters who are the targets of investigations.

So The Demolished Man is a police procedural insofar as, from this point onwards (about page 80 to the end of the 250-page Gollancz edition), the interest is in whether Reich will be caught.

But it also belongs to the genre of the inverted detective story:

a murder mystery fiction in which the commission of the crime is shown or described at the beginning, usually including the identity of the perpetrator and the story then describes the detective’s attempt to solve the mystery.

It becomes even more so once snazzy Lincoln Powell, the Prefect of the Police Psychotic Division and himself a powerful 1st class Esper, turns up on the scene, pushing his way through the bustling uniformed cops and the forensics boys, as we have seen the handsome lead detective do in thousands of TV cop series and thriller movies, in order to schmooze the bosomy socialite hostess and her guests.

Powell is clever, he is dangerous, and within a few pages he catches Reich out in his account of events (by this time everyone knows D’Courtney has been murdered since half the party went upstairs to see the body, and the hostess has also told them D’Courtney’s daughter was with him but has now disappeared) but Reich lets slip that he knows she (the daughter) was half-dressed – giving away the fact that he was there.

And, although Reich has called to his side a powerful Esper lawyer, Jo ¼maine, Powell still slips into his mind for a moment when it isn’t filled with the inane pop jingle mentioned earlier, and confirms to his own satisfaction that Reich did it.

So by page 100 we know who committed the murder – Reich – and we know that the lead detective on the case knows it, too.

So, in fictional terms, the interest ought to become the cat-and-mouse process of the detective trying to prove it and the culprit trying to prevent him.

Except that this isn’t really a very serious book. I’ve just read several science fiction masterpieces which take the idea of telepathy extremely seriously, powerfully conveying the shock and disorientation and fear that would be caused if someone else really could penetrate your thoughts, and speak to you inside your head – namely Ursula Le Guin’s The Left Hand of Darkness and, in a rather different mode, The Fifth Head of Cerberus.

By comparison, The Demolished Man is about as serious as an episode of Starsky and Hutch with spaceships. It comes as no surprise to flick through his Wikipedia article and learn that Bester wrote extensively during his career for popular TV shows such as Nick Carter, The Shadow, Charlie Chan, The New Adventures of Nero Wolfe and The CBS Radio Mystery Theater.

‘Are you rocketing?’ he said hoarsely. ‘Do you think I’ll fall into that orbit?’

Telepathy

No, having destroyed any suspense by telling us who did it, and that the investigating detective knows whodunnit, the interest switches to admiring how many variations Bester can wring out of their cat-and-mouse confrontations, how many wacky, 24th century scenes he can cook up.

First and foremost there is the recurring trope of telepathy, where there’s lots of fun to be had from Bester fleshing out the idea of a Guild of Espers, with all its procedures and politics and rivalries – its selection procedures and what he tells us, straight-faced, is its ‘Esper Pledge’.

I will look upon him who shall have taught me this Art as one of my parents. I will share my substance with him, and I will supply his necessities if he be in need. I will regard his offspring even as my own brethren and I will teach them this Art by precept, by lecture, and by every mode of teaching; and I will teach this Art to all others. The regimen I adopt shall be for the benefit of mankind according to my ability and judgment, and not for hurt or wrong. I will give no deadly thought to any, though it be asked of me. Whatsoever mind I enter, there will I go for the benefit of man, refraining from all wrong-doing and corruption. Whatsoever thoughts I see or hear in the mind of man which ought not to be made known, I will keep silence thereon, counting such things to be as sacred secrets.

In the middle of the book, Powell finds the runaway daughter, Barbara, brings her safely to his house where he gets an assistant, Mary Noyes to look after her. Barbara is in such a state of catatonic shock – Powell finds her mind to be a raging chaos – that they embark on a newly discovered technique (‘the Déjà Èprouvé Series for catatonia’) of regressing Barbara to childhood and getting her to relive her mental development – the idea being to regrow her mind in an environment where her father is already dead, so Powell can access her adult mind.

But along the way he has to peer deep, deep into her primitive child-mind and these scenes – the sensations and feelings of telepathy – are described for pages with a kind of vivid, technocratic exuberance, with the technicolour blaze of the kinds of American TV sci fi shows I loved when I was a boy – Time TunnelLand of the GiantsStar Trek. It sounds like this:

Here were the somatic messages that fed the cauldron; cell reactions by the incredible billion, organic cries, the muted drone of muscle tone, sensory sub-currents, blood-flow, the wavering superheterodyne of blood pH… all whirling and churning in the balancing pattern that formed the girl’s psyche. The never-ending make and-break of synapses contributed a crackling hail of complex rhythms. Packed in the changing interstices were broken images, half-symbols, partial references… Theionized nuclei of thought.

Similarly, a number of parties are described or encounters and conversations between peepers, in which the exchanges are written in quickfire italics or – a Bester trademark, this – clever and stylised typography, the words of different telepaths set in different positions around the page, for example creating rows and columns which the reader has to navigate, typographically conveying the sense of complex telepathic interactions.

In its shiny, snappy, techno diction and Pop Art layout, this is all a million miles away from the subtlety and Eastern-inspired insights of Ursula Le Guin’s descriptions of telepathy.

Narrative energy

But above all the book’s fundamental quality is the relentless speed, its zingy, fast-paced narrative and its bubblegum, wow-words style.

  • They all shot to their feet and shouted “No! No! No!”
  • He horded the terrified squad toward the door, pushed them out, slammed the door and locked it.
  • Reich wrapped the book, addressed it to Graham, the appraiser, and dropped it into the airslot. It went off with a puff and a bang.

As, indeed, does the whole book.

Colourful incidents

The book is packed with quickfire, colourful incident. Set in New York (admittedly in the 24th century and after some kind of war wrecked parts of the city in the late twentieth) many of the settings (casino, nightclub, pawn shop) and many of the outlandish names (Keno Quizzard, Choka Frood) reminded me of Damon Runyon, but above all the snappy dialogue, and smart-alec  attitude of all concerned.

‘I’ve got no time for a two-bit hater with coffin-queer friends.’

Everyone’s a wiseguy.

‘You took out our tail, Duffy. Congratulations.”
Ah-ha! Hassop is your pet horse. A childhood accident robbed him of a horse’s crowning glory. You substituted an artificial one which—
‘Clever-up, Duffy. That isn’t going to travel far.’
‘Then, boy-wonder, will you ream your tubes?’

This is a snappy exchange between Powell and a sassy young woman he thinks is working for Reich about a guy named Hassop who Powell set to tail her. I like the phrase ‘clever-up’ which numerous characters use to each other, obviously Bester’s 24th century version of ‘wise up’. I’ve no idea what ‘will you ream your tubes?’ means.

Rough and Smooth Anyway, Powell tells his team they’re going to Rough-and-Smooth Reich, with a whole set of plain clothes detectives and snoops following him in plain sight, so that when he evades them he lets his guard down and is accessible to the much subtler undercover cops.

The Monarch Jumper Doesn’t really work out as Reich zips around the city taking care of all the loose ends which might tie him to the crime, and all the time coming up with hare-brained schemes for finding the girl, the key witness. He persuades one of his advertising executives that they need a pretty girl to be the face of ‘the Monarch Jumper’ (apparently a kind of rocketship), and sketches Barbara’s face and tells him to scour the city for her. He offers a fortune to set up sanctuaries for the city’s homeless, and then pays for a man at the door of every shelter, with a sketch of Barbara and a hefty bonus if they spot her.

The Rainbow House of Chooka Frood None of this works till an underworld contact of Reich’s, Keno Quizzard, tracks the girl down to the bizarre entertainment venue at 99 Bastion West, hosted by Chooka Frood (in that crazy twentieth century war a bomb blew up a ceramics factory and created a mad multi-coloured swirl of melting glaze which poured down into the cellar and solidified, hence The Rainbow House of Chooka Frood). Upstairs there’s a ‘frab’ joint, whatever that is.

The Neuron Scrambler Anyway, from different directions, Powell and Reich both arrive there at the same time, Powell getting into the actual room where the blind, sluglike Quizzard is pawing and fondling the catatonic Barbara. Powell paralyses Quizzard and seizes the girl. Reich was slower, having to threaten sleazy Chooka with a ‘neuron scrambler’ in order to get her to reveal the girl’s location, and watches through the transparent floor from the from above, holding the scrambler on both of them.

(A neuron scrambler has three settings or notches: Notch 1. charges the central nervous system with a low induction current. Notch 2. Break-bone ague, brute groans of a tortured animal. Notch 3. Death.)

For a moment he has it in his power to stun Powell and grab the girl but he doesn’t, he himself doesn’t know why. Deep down he’s a decent sort, maybe. Or there is a bond between him and the cop, they’re the same type, clever, charismatic, it’s an accident they’ve ended up on opposing sides.

The harmonic gun There are many many other colourful episodes. Powell drops into Jerry Church’s pawnshop, having invited Reich’s tame peeper Gus Tate to meet him there and is in the middle of carrying out a subtle psychological con on Church when… someone attacks the joint with a ‘harmonic gun’ which sends fatal ripples up through the floor. Powell leaps for the chandelier, along with Church, but can’t prevent Tate falling to the floor where he is instantly vibrated into a bloody raw mess.

In another episode Powell gets the laboratory at the Espers Guild to put on a show for the old and vain Dr Wilson Jordan who, Powell has established, helped Reich with the crime. By pandering to his vanity one of the teams in the lab gets him to own up to inventing the anti-rhodopsin drops which stunned D’Courtney’s guards.

It is extremely intricate and fast-paced and wonderfully silly.

[Choka] shot up from the desk and screamed: ‘Magda!’ Reich caught her by the arm and hurled her across the office. She side-swiped the couch and fell across it. The red-eyed bodyguard came running into the office. Reich was ready for her. He clubbed her across the back of the neck, and as she fell forward, he ground his heel into her back and slammed her flat on the floor.

Spaceland In another abrupt change of scene, Powell and his sidekick Jackson Beck (Esper class 2) get wind that Reich has jetted to Spaceland, the enormous adapted asteroid in space where entrepreneurs have set up concatenations of luxury hotels.

Even more colourful, they learn that his ship crash-landed or was involved in a collision with an asteroid or space junk, but that Reich was injured and one of the passengers killed. When they catch up, Powell and team realise the dead man was Quizzard, the crash was faked, and Reich is leaving a trail of the corpses of his collaborators behind him.

The Reservation But the plot keeps racing on to ever-more colourful scenarios, and now Powell learns Reich has gone into ‘the Reservation’, an off-world recreation of the untouched jungle, and has taken with him Hassop, keeper of Reich and Monarch’s secret codes, and the only man who has a record of the coded exchange that took place between Reich and D’Courtney. With typical wild abandon, Powell recruits a whole raft of civilians to go into the Reservation and track the pair, quickly finding them and closing in to discover that Reich has set up an impenetrable security bubble around them, while he whittles a bow and arrow and Hassock builds a fire. Spooked by what he senses of someone closing in, Reich panics and starts firing his arrows at Hassock who runs round and round the perimeter of the security bubble panicking and screaming, until Powell performs the trick of projecting a vast wave of TERROR at the lowest range possible for an Esper and thus stampedes all the elephants, rhinos and other big game for miles who stomp right through Reich’s security bubble and, in the chaos, Powell grabs hold of the terrified Hassop and yanks him to safety.

Old Man Moses

By page 180, the thoroughly exhausted reader watches Powell gather up all the testimony he has accumulated and present it to the District Attorney and, more importantly, to ‘Old Man Mose’, the giga-computer more correctly referred to as the Mosaic Multiplex Prosecution Computer. After some comic stumbles (the programmer makes a mistake and the computer rejects Powell’s entire case) it not only accepts all the evidence, but states he has a 97.0099% probability of a successful prosecution. Powell is just celebrating when the door opens and two technicians rush in with terrible news – they’ve decoded the exchange Reich and D’Courtney had a few days before the murder – and D’Courntey accepted the offer of a merger. He was giving Reich everything the latter could possibly want. At a stroke, the entire motive for the murder disappears!

Mad finale

At which point the novel feels like it goes into overdrive for the final mad fifty pages:

Assassination attempts First of all there are no fewer than three attempts on Reich’s life – bombs going off in his spacerocket back to earth, in his office and in a domestic ‘jumper’ (a kind of rocket taxi).

Reich jumps to the wild conclusion that it is Powell trying to kill him, out of frustration that his legal case has collapsed and so he creates a diversion, threatening Choka Frood into video phoning Powell that she has the knife-gun which killed D’Coutney. Powell is excited at the thought of getting his hand on key evidence, tells Frood not to move and grabs a jet over… while Reich jets to Powell’s home, stuns Mary (the woman who loves Powell and has move into his house to chaperone Barbara D’Courtney) and starts trying to interrogate Barbara, thinking her little-girl-lost behaviour is a wisecracking act… before Powell arrives home, having realised the Frood gun-thing was a distraction. They talk, they fight, Powell deep-peeps Reich and is horrified by what he finds.

To cut a long story short, Powell realises that Reich is D’Courtney’s son. D’Courtney had an affair with Reich’s mother. For the rest of his life he’s felt increasingly guilty at having abandoned him. Now, in the final stages of throat cancer, D’Courtney had agreed to the merger and wanted to meet Reich to explain that he was his son and to be reconciled.

But Reich was so fired up by his own impetuous rage that he a) misread the telegram back agreeing to the merger b) refused to listen as D’Courtney struggled to tell him the truth, at Maria’s mansion.

This explains a lot of the doppelganger imagery which has been floating round in Reich’s mind, but also explains other oddities, like how he couldn’t shoot the neuron scrambler at Barbara and Powell when the latter rescued her from The Rainbow House of Chooka Frood. It was because, at some level, he knew Barbara was his step-sister.

Anyway, this confrontation builds up to the climax of Powell telling Reich that the real person responsible for the assassination attempts on his is not Powell – it is THE MAN WITH NO FACE, at which point Reich screams in mental agony and blunders out of Powell’s house into the streets.

But in fact this isn’t what had shocked Powell because, as he deep-peeped Reich’s mind he saw something far, far worse, he saw that Reich is one of the rare individuals who can change reality; whose paranoia and fear and rage are so intense that they can wrest reality to their fantasies.

The Esper Guild Council So Powell calls an emergency meeting of the Espers Guild’s Council at which he explains that it is necessary to carry out a Mass Cathexis, a rare united action by the top Espers in which they focus all their energy via one individual. Powell presents his case that Reich is a one in a generation individual who has the capacity to shape the world to his own paranoid needs. To be precise, as Powell tells the emergency meeting of the Esper Guild’s Council:

Reich is about to become a Galactic focal point… A crucial link between the positive past and the probable future. He is on the verge of a powerful reorganization at this moment. Time is of the essence. If Reich can readjust and reorient before I can reach him, he will become immune to our reality, invulnerable to our attack, and the deadly enemy of Galactic reason and reality.’

The council reluctantly agrees to carry out the cathexis – reluctantly because the Esper at the centre of it – in this case Powell – has in all previous cases been destroyed.

Powell jets home and packs off the unwilling Mary and Barbara to Kingston mental hospital in upstate New York, getting them out of the way so he can prepare for the final battle.

Powell goes to NYC police HQ Meanwhile we cut to what turns into the weirdest and most intense passage of the novel, a sequence of scenes in which Reich finds himself in different settings as the universe collapses around him. First he wakes in the gutter in the rain in a foetal position, realising he must have blacked out and being helped to his feet by young Galen Chervil, a minor character we met earlier. Chervil helps him stagger along to police headquarters where Reich demands to see the Chief of Police (who is on his payroll) and learns that the murder case against him has definitely been dropped. He runs out of police headquarters roaring with triumph but then sees, walking across the busy New York street towards him, The Man With No Face!

In Duffy Wyg&’s bed When he comes round he is in the pretty pink bedroom of the songwriter Duffy Wyg& who has always fancied him. They josh and banter in a wisecracking 1950s style, but when Reich sticks his head out the bedroom window he notices something terrible – there are no stars in the sky. Worse, when he quizzes Wyg& about it – she has never heard of stars, doesn’t know what stars are, thinks he’s mad. Terrified, Reich dresses, rushes out into the street and catches a jumper to the city observatory where the man at the telescope tells him there are no stars, there have newver been stars… turns round and is revealed to be… The Man With No Face!

At Monarch HQ Running out the observatory screaming, Reich tells the jumper pilot (basically a rocket taxi) to take him to Monarch HQ, where he calls senior managers to his office to announce the merger with D’Courtney and that he will soon be ruling over Mars and Venus and all the satellites. They look at him blankly. They’ve never heard of Mars and Venus. Reich has a fit mad and ransacks through the office files to get confirmatory documents but there are none – there is no record of a Venus or Mars or indeed of the entire solar system. It doesn’t exist. It has never existed.

Reich’s people call Monarch security – the boss has obviously gone mad, but Reich dodges them and makes it out into the streets of the hectic city to discover that…

There is no sun. There has never been a sun. The world has always been illuminated by streetlights. Reich shouts about it at passersby who look at him as at any maniac. He goes to a public information booth and quizzes the central computer, which says… there has never been a sun. Overhead is black black black.

At each of these junctures he has suddenly come face to face with… The Man With No Face… And now there is no New York, there is just a waste land in darkness stretching off in every direction and the voice, the voice loud and commanding saying There is nothing, There is nowhere, the voice of the Man With No Face.

An hysterical style for a tale of hysteria

This is all very effective. Because the entire novel has been written at such a hectic pace, the reader has become used to being rushed and buffeted into new scenes and revelations, and this final sequence feels like a natural climax to Reich’s hysteria.

It is thrilling to read about the slow demolition of the universe and I assumed that it really reflected reality, that Reich really was remodelling the universe to reflect his own terrors, as in a Philip K. Dick novel or in Le Guin’s Lathe of Heaven where individual’s minds can change the world… although I was a little puzzled that there was no sign of Powell and the big Mass Cathexis we had been promised…

But then, a new chapter starts and all is made clear. The universe and the world haven’t ended at all. What we had read so vividly described in the previous chapter was the Mass Cathexis. It was the power of all the Espers in the Guild channeling their energy through Powell who projected it into Reich’s mind, and made all his worst fears come true in his mind. Eventually there is nothing but darkness and The Man With No Face in Reich’s mind only because he has gone mad. And been shut down. Neutralised.

Kingston Hospital The scene cuts to Kingston hospital in the sunshine where happy patients are doing outdoors exercises as Powell’s rocket descends.

  1. He survived. He was not consumed in the Mass Cathexis.
  2. Reich was contained. His destructive energies were broken. Now he is a mad patient at the hospital.
  3. Powell has come to declare his love for the beautiful blonde Barbara D’Courtney, bringing with him a box of luxury treats.

The sun is shining, the world is saved, boy meets girl, boy loses girl, boy gets girl. They walk into the sunset…

Oh, there’s a slight interruption when Reich gets free and jumps from a balcony into the garden setting patients screaming. Powell puts Barbara protectively behind him and walks over to confront Reich. The latter is half-way through his treatment, the psychological ‘demolition’ which gives the book its title. What does that entail? I’m glad you asked:

When a man is demolished at Kingston Hospital, his entire psyche is destroyed. The series of osmotic injections begins with the topmost strata of cortical synapses and slowly works down, switching off every circuit, extinguishing every memory, destroying every particle of the pattern that has been built up since birth. And as the pattern is erased, each particle discharges its portion of energy, turning the entire body into a shuddering maelstrom of dissociation. But this is not the pain; this is not the dread of Demolition. The horror lies in the fact that the consciousness is never lost; that as the psyche is wiped out, the mind is aware of its slow, backward death until at last it too disappears and awaits the rebirth. The mind bids an eternity of farewells; it mourns at an endless funeral. And in those blinking, twitching eyes of Ben Reich, Powell saw the awareness… the pain… the tragic despair.

Reich is not going to be executed. That’s the kind of barbaric punishment they meted out back in the twentieth century ha ha. He is going to be stripped down and remade, preserving his manic energy and character, refocusing it on socially useful ends.

Powell looks into the eyes of the slobbering half-man in front of him, and gently offers him the goodies he had brought Barbara. His attendants arrive and take Reich away. Powell returns to the pretty blonde who is his reward for being such a hero. All’s right with the world.

Thoughts

It has been a rollicking read. My guess would be that most initial readers were blown away by the thoroughness of Bester’s ideas and conceits – namely his working out of all aspects of the his very practical conception of telepathy – the Guild, the pledge, the comic conversations telepaths have at parties and so on – along with the powerful (for 1953) Freudian themes of oedipal murder, frustrated incest, and so on – not to mention the intense final scenes where Reich goes mad and experiences a collapsing universe – and all this stuff is tremendously compelling, albeit in a dated, bubblegum, 1950s sort of way.

But reading it 60 years later, what is clear to me is that the real secret of The Demolished Man is its extraordinary verbal energy and phenomenal narrative pace. It is a rollercoaster of a read which it is impossible to put down or pause. As so often, I believe the real secret of a bestseller or legendary book, is in the quality of its writing. Reich may be going out of his mind but Good God, the energy of the man, and the energy the writing conveys right into the reader’s head.

  • He carried her to the window, tore away the drapes and kicked open the sashes…
  • He shoved her away, turned and ran to the bathroom…
  • He flung out of the apartment and rushed down to the street…
  • Reich cried out. He turned and ran. He flew out of the door, down the steps and across the lawn to the waiting cab…
  • He darted to the desk and yanked out drawers. There was a stunning explosion…
  • He ran out of his office and burst into the file vaults. He tore out rack after rack; scattering papers, clusters of piezo crystals, ancient wire recordings, microfilm, molecular transcripts…
  • Reich howled. He leaped to his feet, knocking the desk chair backward. He picked it up and smashed it down on that frightful image…
  • He spun around twice, heart pounding, skull pounding, located the door and ran out…
  • He ran blindly onto the skyway, shied feebly from an oncoming car, and was struck down into enveloping darkness

Of course the themes are important and the plot is gripping, but it’s this bombardment of hyperactivity, it’s all the running and smashing and kicking and yanking and exploding and screaming which really characterises the visceral experience of reading this breathless text.


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
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

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
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

The Nightmare of Reason: The Life of Franz Kafka by Ernst Pawel – part one (1984)

‘What do I have in common with the Jews? I hardly have anything in common with myself and should stand very quietly in a corner, content that I can breathe.’
(Franz Kafka, 8 January 1914)

This is a hugely enjoyable biography of Franz Kafka, chiefly because it is itself so unKafkaesque, so informative and logical and entertaining.

Although the subject matter and settings of Kafka’s novels and short stories vary, what all Kafka’s works have in common (well, apart from the really short stories) is the long-winded and often convoluted nature of his prose which seeks to reflect the over-self-conscious and over-thinking paranoia, anxiety and, sometimes, terror of his protagonists, narrators or characters.

Pawel’s book, by contrast, is a wonderfully refreshing combination of deep historical background, penetrating psychological insights, fascinating detail about the literary and cultural world of turn-of-the-century Prague, and hair-raising quotes from Kafka’s diaries, letters and works, all conveyed in brisk and colourful prose. Pawel is about as variedly entertaining as prose can be, which came as a huge relief after struggling through the monotone grimness of a story like The Burrow.

Three ethnicities

If you read any of Kafka’s works it’s difficult to avoid blurbs and introductions which give away the two key facts of his biography – 1. his lifelong fear of his father, Herrmann, and 2. how he spent his entire working life in a state insurance company, itself embedded in the elephantine web of Austro-Hungarian bureaucracy.

The Workmen’s Accident and Insurance Institute for the Kingdom of Bohemia was an integral part of the pullulating Austro-Hungarian bureaucracy that, like a giant net of near-epic intricacy, covered the entire Hapsburg domain. (The Nightmare of Reason, page 183)

Between them these two facts can be used as the basis of entry-level commentaries on Kafka’s stories, interpreting them as being about either:

  1. anxiety and dread of some nameless father figure who inspires an irrational sense of paralysing guilt
  2. or (as the two famous novels do) as unparalleled descriptions of vast, impenetrable bureaucracies which the helpless protagonists can never understand or appeal to

So far, so obvious. What I enjoyed most in this biography was all the stuff I didn’t know. First and foremost, Pawel gives the reader a much deeper understanding of the history, the politics and, especially, the ethnic make-up of Bohemia, where Kafka was born and lived most his life, and of its capital city, Prague – and explains why this mattered so much.

What comes over loud and clear is the tripartite nature of the situation, meaning there were three main ethnic groups in Bohemia, who all hated each other:

1. The majority of the population of Prague and Bohemia was Czech-speaking Czechs, who became increasingly nationalistic as the 19th century progressed, lobbying for a nation state of their own, outspokenly resentful of the Austrian authorities and of their allies in the German-speaking minority.

2. A minority of the population, around 10 to 15%, were ethnic Germans. They regarded themselves as culturally and racially superior to the Czechs, who they thought of as inferior ‘slavs’. The Germans were bolstered 1. by their proximity to Germany itself, with its immense cultural and literary heritage, and 2. because they spoke the same language as the Austrians who ruled the Austro-Hungarian Empire. Most schools in Bohemia taught German as the official language, resulting in a state of civil war between the two languages and low level conflict between the two cultures – Pawel describes it as an ‘abyss’ (p.140).

Kafka, for example, although he was complimented on his spoken Czech, never considered himself fluent in it, and was educated, preferred to speak and wrote in German. In reference books he is referred to as a master of German prose.

3. And then there were the Jews. Pawel goes into great detail and is absolutely fascinating about the position of Jews in the Austro-Hungarian Empire and Bohemia in particular. He goes back to the Emperor Joseph II’s 1781 Patent of Toleration, which allowed Jews and Protestants for the first time to practice their religion in the Empire, and the charter for religious freedom granted the Jews of Galicia in 1789. From these statutes dated a series of other laws enacted throughout the nineteenth century designed to ’emancipate’ the Jews from a range of medieval laws which had placed huge restrictions on how they could dress, where they could go, what jobs they could hold.

But this so-called emancipation was a double-edged sword, because it also abolished the communal autonomy which the Jews had enjoyed, it forbad the wearing of traditional Jewish clothes, and it enforced the Germanisation of Jewish culture.

The effect of all this was that, through the 19th century, successive generations of Jews tried to break out of the squalor and poverty of their predominantly rural settlements, emigrated to the big cities of the Empire, dropped their traditional clothing and haircuts, learned to speak German better than the Germans, and in every way tried to assimilate.

Both [Kafka’s] parents belonged to the first generation of assimilated Jews. (p.54)

Unfortunately, this ‘aping’ of German culture mainly served to breed resentment among ‘true’ Germans against these cultural ‘impostors’, with the net result that, the more the Jews tried to assimilate to German culture, the more the Germans hated them for it.

Thus, in a bitter, world-historical irony, an entire generation of urbanised, secular Jews found themselves in love with and practicing a Germanic culture whose rightful ‘owners’, the Germans, hated them with an unremitting anti-semitism (pp.99, 149).

And these hyper-intelligent Jews were totally aware of the fact, bitterly reminded of it every time another anti-semitic article was published in their newspapers or anti-semitic ruit took place in their towns. And so it helped to create a feeling that if only they weren’t Jews everything would be alright. It helped to create the phenomenon known as Jewish self-hatred, a condition Pawel thinks Kafka suffered from, acutely, all his life (p.108).

(Though not as much as the journalist Karl Kraus. In a typically fascinating digression, Pawel devotes an excoriating passage to Kraus, a secular Jew born into a wealthy industrialist family, who became a leading satirical writer and journalist, and devoted his flaming energies to protecting the ‘purity’ of the German language, and – according to Pawels – castigating ‘the Jews’ for importing provincial jargon and Yiddishisms. Kraus was, in Pawel’s view, ‘the quintessential incarnation of Jewish self-hatred’ (p.226).)

And don’t forget that, all the while they were the subject of German anti-semitism, the Jews also got it in the neck from the other side, from the nationalist Czechs, the more Germanic the Jews strove to become, the more the Czech nationalists hated them for sucking up to their oppressors. The Jews got it from both directions.

I knew about Austrian anti-semitism, not least from reading biographies of Freud. But I didn’t know anything about the distinctive dynamic of Czech anti-semitism.

The emancipation of the Jews

Pawel describes all this in such depth and detail because it explains the impact on Kafka’s own biography – namely that Franz’s father, Herrmann, was one of that generation of Jews who, in the mid-nineteenth-century, escaped from the grinding poverty of the rural shtetl, migrated to the city, and finagled the money to set himself up in business, to try to rise in the world.

One of the best-known things about Kafka is how he lived in abject fear of his father, who instilled a permanent sense of terror and anxiety in him, but Pawel explains brilliantly how Kafka senior was a highly representative figure, just one among a great wave of Jews of his generation who escaped rural poverty, migrated to the city, became more or less successful businessmen and… sired sons who despised them.

He wasn’t alone. Pawel shows how it was a pattern repeated across educated Jewry (p.98).

Seen from this historical perspective, Sigmund Freud (born 1856 in Příbor in what is now the Moravian province of the Czech Republic) is a kind of patron saint of his and the slightly later generation (Kafka was born in 1883) for Freud’s father, Jakob, was the son of devout Hasidic Jews, who, in the classic style, moved from his home district to the big city of Vienna where he struggled to run a business as a wool merchant, rejecting along the way all the appurtenances of the rural Judaism which were so associated with poverty and provincialism. It was as a result of Jakob’s deracination, that his son decisively broke with any religious belief, and became the immensely successful and highly urbanised founder of psychoanalysis.

Same or something similar with a whole generation of Jewish-German writers artists and composers – Kafka, Brod, Hermann Broch, Wittgenstein, Karl Kraus, Walter Benjamin, Gustav Mahler, Arnold Schoenberg and so on (pp.98, 99). It was a world of staggering artistic brilliance – this was the generation which contributed to and helped define the whole idea of Modern Art. But it was all built on a volcano, the fierce hatred of ‘genuine’ Germans for the ‘cosmopolitan’ Jews who (they thought) were appropriating their culture.

This was the atmosphere of Kafka’s world, dense with hate. (p.44)

Judaism is replaced by literature

A further consequence emerges from Pawel’s historical approach which is that this generation, the first generation of truly urbanised Jews, which had largely lost its religious faith in the process, nonetheless continued, like their rabbinical forefathers, the Jewish obsession with the written word.

Only instead of devoting their lives to interpreting the Holy Scriptures as their Hasidic forefathers, rabbis and holy men had – these largely irreligious urbanites now nagged and worried about secular types of writing – namely literature and philosophy and criticism and aesthetics. God may have been declared dead and words no longer used to pray and worship – but instead, the endless finagling of rabbis and commentators was now applied to existence itself, to a scrupulous cross-examination of modern life in the hurly-burly of hectic cities.

The Jewish intelligentsia on the whole remained isolated, inbred and inward looking…Theirs was a paradoxically communal shtetl of cantankerous individualists huddled in the warrens of their self-absorption, with literature as their religion and self-expression their road to salvation. (p.153)

As Pawel puts it with typically colourful rhetoric:

Kafka’s true ancestors, the substance of his flesh and spirit, were an unruly crowd of Talmudists, Cabalists, medieval mystics resting uneasy beneath the jumble of heaving, weatherbeaten tombstones in Prague’s Old Cemetery, seekers in search of a reason for faith. (p.100)

The same intense scrutiny the forefathers paid to every word and accent of the Talmud, their heirs now devoted to the production of texts exploring the experience of the modern world which boiled down, again and again, in the hands of its most dogged exponents, to an investigation of language itself.

And so we find Kafka in December 1910 making one of the hundreds and hundreds of diary entries he devoted obsessively to the subject of writing, of words, of prose, of literature:

I cannot write. I haven’t managed a single line I’d care to acknowledge; on the contrary, I threw out everything – it wasn’t much – that I had written since Paris. My whole body warns me of every word, and every word first looks around in all directions before it lets itself be written down by me. The sentences literally crumble in my hands.

‘Every word first looks around in all directions before it lets itself be written down by me’! In Kafka’s hands, even language itself is gripped by fear.

Kafka’s diet

Kafka was a lifelong hypochondriac who also happened to suffer from actual illnesses and conditions. From early in adulthood he experimented with a variety of cures from surprisingly silly quack doctors. He became obsessed with diet, first becoming a vegetarian, and then implementing an increasingly complicated regime of diets, which Pawel describes in detail.

But once again Pawel uses this to make the kind of socio-psychological point for which I really enjoyed this book, when he points out the following: In the Jewish tradition, strict adherence to kashrut or traditional Jewish dietary law linked the individual to the community, made him one with a much larger people and their heritage – whereas the dietary rituals Kafka made for himself completely cut him off not only from the Jewish tradition, but even from his own family, and ultimately his own friends. Later in life Kafka:

gradually got into the habit of taking all his meals by himself and intensely disliked eating in anyone’s presence. (p.209)

Like everything else in his life, even eating became a source of anxiety and dread and shame.

Hermann Kafka and his family

Although Pawel records the lifelong terror and feeling of humiliation which Herrmann inculcated in his over-sensitive son, he injects a strong dose of scepticism. As you read Franz’s Letter to his Father, the sustained thirty-page indictment of Herrmann which poor Franz wrote at the age of 36, you can’t help beginning to feel sorry a bit sorry for Herrmann. It wasn’t his fault that he emerged from grinding poverty all but illiterate and had to work hard all his life to support his family. Whereas Franz enjoyed 16 years of education and wangled a cushy job at the Workers Insurance Company thanks to a well-connected uncle. From one point of view, Franz is the typically ungrateful, spoilt son.

And in a subtle reinterpretation of the traditional story, Pawel wonders if it wasn’t Kafka’s mother, Julie, who did most damage to her son. How? By being totally aware of young Franz’s hyper-sensitive nature, but doing nothing about it – by effectively ignoring his hyper-sensitive soul in order to suck up to her bullying husband.

Because, as Pawel points out, Kafka gave the notorious Letter to His Father to his mother to read and then pass on to the family ‘tyrant’. She certainly did read it but never passed it on, returning it to Franz after a week and, well… Franz could easily have handed it over to his father by hand – or posted it. But he chose not to. That, Pawel speculates, is because the letter had in fact achieved its purpose. Not to address his father at all, but successfully implicating his mother in his childhood and teenage trauma. After all:

All parents fail their children, and all children weave their parents failure into the texture of their lives. (p.82)

As this all suggests, Kafka’s story was very much a family affair, a psychodrama played out in the claustrophobic walls of the Prague apartment he shared with his mother, father and three sisters.

Indeed it is a little staggering to read Pawel’s description of the apartment the family moved to in 1912, whose walls were so thin that everyone could hear everyone else cough or sneeze or open a window or plump a book down on a table – let alone all the other necessary bodily functions. What a terrible, claustrophobic environment it was (and we know this, because we have hundreds of diary entries made by Franz moaning about it) and yet – he didn’t leave.

More than once Pawel suggests there is something very Jewish about this smothering family environment and the way that, although he could easily have left once he had a secure job, Kafka chose to remain within the bosom of his smothering family.

It’s aspects of Kafka’s psychology and life like this which drive Pawel’s frequent comparisons and invocations of Freud, dissector and analyst of the smothering turn-of-the-century, urban, Jewish family, investigator of the kind of family lives that the young women of his case studies made up hysterias and neuroses, and the young men made up violent animal fantasies, to escape from.

But here, as in other ways, Kafka stands out as taking part in a recognisable general trend – but then going way beyond it – or moulding it to his own peculiar needs – because at some level, deep down, he needed to be smothered.

Anti-Semitism and Zionism

And all around them, surrounding the anxieties of family life, were the continual ethnic tensions which regularly broke out into actual violence. Sometimes it was Czech nationalists rioting against their Austro-German overlords in the name of Czech nationalism – as they did in the so-called Prague Pogrom of 1897 when Czech nationalists started off by ransacking well-known German cultural and commercial establishments, but ended up devoting three days to attacking Jewish shops and synagogues and anyone who appeared to be a Jew.

Slowly, over his lifetime, Kafka noted the situation getting steadily worse. Fifteen years later, the 60th anniversary of the accession of the Emperor Franz-Joseph led to violent attacks organised by the Czech National Socialists on German properties, which led to troops being sent in and the imposition of martial law (p.298).

But whether it was the Germans or the Czechs, and whether it was the journalistic or bureaucratic attacks of the intelligentsia, or crude physical attacks on the street (and street fighting occurring on an almost weekly basis, p.205):

The extremist demagogues prevailing in both camps were equally vocal in their common hostility to the Jews.

This pervasive fearfulness among Jews helps explain the origins of Zionism, first given theoretical and practical expression by Theodor Herzl, another urbanised and ‘assimilated’ Jewish son of poorer, more rural parents, from the same generation as Freud (Herzl was born a year later, in 1860).

In 1896, deeply shocked by the anti-semitism revealed by the Dreyfus Affair in France (1894-1906), Herzl published Der Judenstaat, in which he argued that anti-semitism in Europe couldn’t be ‘cured’ but only avoided altogether, by leaving Europe and founding a state solely for Jews.

The theme of Zionism looms large in Kafka’s life. Many of his school and university friends became ardent Zionists – including his good friend and literary executor, Max Brod, who managed to escape Prague on the last train before the Nazis arrived, and successfully made it to Palestine. Zionism it was one of the big socio-political movements of the time, along with socialism, anarchism, and Tolstoyan pacifism. (pp.61, 290)

And it was a practical movement. The Bohemian Zionists didn’t just campaign for the establishment of a foreign homeland; closer to home they organised the community, publishing a weekly magazine named Self Defence edited by Kafka’s friend Felix Weltsch (one of the many writers, journalists, critics and poets who Pawel tells us about).

Above all, they preached the idea that all the Jewish hopes for ‘assimilation’ were a fantasy: the Jews who worshipped German culture were adulating their abuser. There could never be full assimilation and the sooner the Jews realised it and planned for their own salvation the better. Tragically, the Zionists were to be proved entirely right.

So from Kafka’s twenties onwards, Zionism was one of the half dozen cultural and political themes of the day. Late in life Kafka encouraged his sisters to develop agricultural skills preparatory to emigrating to Palestine. It was a constant possibility, or dream of his, mentioned in diaries and letters although, being Kafka, he knew it was not a dream he would ever live to fulfil.

Multiple reasons to be afraid

Thus it is that Pawel’s book brilliantly conveys the multiple levels or sources of Kafka’s terror.

  1. He was born over-sensitive and anxious and would have had a hard time adapting to real life anywhere. He was painfully shy and morbidly self-aware.
  2. His father was a philistine bully who ridiculed his son’s weakness and intellectual interests, exacerbating the boy’s paranoia and anxieties in every way.
  3. In newspapers and even in lectures at the university he attended, Kafka would routinely read or hear the most blistering attacks on the Jews as enemies of culture, emissaries of poverty and disease from pestilent rural slums, Christ-killers and followers of an antiquated anti-Enlightenment superstition.
  4. And then, in the streets, there would be periodic anti-Jewish riots, attacks on individual Jews or smashing up Jewish shops.

In the midst of explaining all this, Pawel makes a point which it is easy to miss. He notes that in Kafka’s surviving correspondence with Max Brod or with his three successive girlfriends, Kafka rarely if ever actually alludes to anti-semitism, or to the street violence, clashes, public disorders and growing power of the anti-semitic nationalist parties in Prague. Pawel makes what I thought was a really powerful comment:

It was only in his fiction that he felt both safe and articulate enough to give voice to his sense of terror. (p.204)

An insight I thought was really worth pondering… something to do with the way fiction, or literature, can be a way of controlling and ordering the otherwise chaotic and overwhelming, the personally overwhelming and the socially overwhelming…

Anyway, that’s a lot of sources of fear and terror to be getting on with, before you even get into Franz’s more personal anxieties – not least about sex and everything sexual, which sent him into paroxysms of self-disgust.

Sex

I had no idea that Kafka was such an habitué of brothels. I mean not now and then. I mean routinely and regularly, as well as having sexual escapades with all sorts of working class girls, serving girls and servants and waitresses and barmaids and cleaning women in the many hotels he stayed at on his business trips. We know this because it is all recorded in the copious diaries he kept, and in his extensive correspondence with Max Brod and he even mentions it in letters to his various fiancées.

The subject prompts another one of Pawel’s wide-ranging cultural investigations which I found so fascinating, this time a lengthy description of the way the madonna-whore dichotomy experienced a kind of ill-fated, decadent blossoming in turn of the century Austro-Hungary – in the Vienna we all know about with its Klimt and Schiele paintings, but also in Germanic Prague.

Sex… was the sinister leitmotif dominating literature, drama, and the arts of the period. And beyond the poetic metaphors loomed the brutal real-life affinity of sex and death – botched abortions, childbed fever, syphilis, suicides. (p.77)

All his friends were at it, they all slept with prostitutes: we learn that Max Brod’s marriage got into trouble because he simply refused to carry on sleeping with every woman he could. The women – we learn – came in different grades, from professionals in brothels, to semi-pros in doorsteps, to amateurs – cleaners and suchlike – who would give you a quick one for cash.

All of which exacerbated the aforementioned Madonna-Whore complex, whereby women were divided into two categories – the generally working-class whores you paid to have dirty sex with – and the pure, high-minded and chaste young ladies you accompanied to concerts and were expected to marry (p.180).

To an astonishing extent, Kafka was a fully paid-up member of this club and had an extraordinary number of casual sexual partners – innumerable encounters which he then followed up with the predictable paroxysms of self-loathing and self-hatred. In this respect he was surprisingly unoriginal.

There is a lot more to be said about the relationship between Kafka’s intense but guilt-ridden sex life and the peculiar relations his two key protagonists have with women (in The Trial and The Castle) but that’s for others to write about. I’m interested in history, and language.

The Workmen’s Accident and Insurance Institute for the Kingdom of Bohemia

It is a revelation to discover that Kafka was good at his job in this insurance company. Not just good, vital. His quick intelligence and pedantic attention to detail were just what was needed. He was tasked with auditing safety regulations about a whole range of industrial processes, a job which required him to travel extensively around the country, staying in hotels (shagging chambermaids if possible) and visiting a huge range of factories and workplaces.

His annual reviews still survive and glow with praise from his superiors and colleagues. He started work at the company’s offices in 1908, was promoted within a year, given full civil service tenure in 1910, advanced to Junior Secretary in 1913, to Secretary in 1920, and senior Secretary in 1922. His immediate superior, Chief Inspector Pfohl, wrote that without him the entire department would collapse. He was a model employee, prompt, intelligent, diligent and polite, as all the testimony from his colleagues confirms.

Fourteen years of following bureaucratic procedures in an institute which was itself part of the wider bureaucratic Empire. And of writing official reports in the tone and style of a senior bureaucrat. You’d have to be quite dense not to link these factors with a) the visions of a vast topless bureaucracy which form the core of the two great novels, and b) with the parody of official, academic-bureaucratic style which is so omnipresent, especially in the later stories.

Kafka’s officialese

Commenting on the contradiction between Kafka the florid hypochondriac and Kafka the smartly turned-out insurance inspector, a contemporary Prague’s literary circle, Oskar Baum, is quoted about how the mental or intellectual structures of the workplace, of its official and stern prose, mapped very handily onto Kafka’s intensely personal obsessions with writing.

By nature he was a fanatic full of luxuriating fantasy, but he kept its glow in check by constantly striving toward strict objectivity. To overcome all cloying or seductive sentimental raptures and fuzzy-minded fantasising was part of his cult of purity – a cult quasi-religious in spirit, though often eccentric in its physical manifestation. He created the most subjective imagery, but it had to manifest itself in the form of utmost objectivity (quoted on page 133)

It’s easy to overlook, but this is a profoundly distinctive aspect of Kafka’s art which is easy to overlook: that all these delirious and often visionary stories are told in very formal and precise prose, and in a style which, in the later stories, becomes really heavily drenched in bureaucratic or academic or official rhetoric.

Pawel’s lurid style

So I found the way Pawel’s factual information about the social, economic and political changes in Bohemia leading up to Kafka’s birth – specifically the changing role of Jews in Bohemian culture – and then his detailed account of Franz’s family life and how that was woven into the complicated social and intellectual currents of the time, really built up a multi-layered understanding of Kafka’s life and times.

But curiously at odds with all this is Pawel’s own very uneven style. One minute he is describing statistics about industrial production or the percentage population of the different ethnicities in the tone of a government report or Wikipedia article:

Prague’s German-speaking minority was rapidly dwindling in proportion to the fast-growing Czech majority, from 14.6 percent in 1880, when the first language census was taken, to 13.6 percent in 1889, Kafka’s first school year. The city’s population totaled 303,000 at the time; of these, 41,400 gave German as their first and principal language. (p.31)

Or:

Between 1848 and 1890, Bohemia’s share in the total industrial output of the monarchy rose from 46 to 59 percent. By 1890, Bohemia and Moravia accounted for 65 percent of Austria’s industrial labour force. (p.37)

The next, he is writing wild and extravagant similes which seem to belong to another kind of book altogether. Here he is describing one of Kafka’s teachers:

Gschwind, author of several studies in linguistics, was rightfully regarded as an eminent classicist, and one can only speculate on the reasons that led him to waste his scholarly gifts and encyclopedic knowledge on a gang of recalcitrant teenagers who, as a group, progressed in classical philology with all the speed and enthusiasm of a mule train being driven up a mountain. (p.73)

Here he is describing Kafka’s anxiety about his end-of-school exams:

The prospect of those apocalyptic trials turned the final school years into a frenzied last-ditch effort to shore up the crumbling ramparts of knowledge, retrieve eight years of facts and figures, and prepare for a bloodbath. (p.76)

Once he starts engaging with Kafka’s stories, Pawel often adopts their phraseology, or at least their worldview, in over-the-top descriptions which could have been penned by Edgar Allen Poe.

Kafka’s impulse was basically sound – that of a trapped, starving animal wanting to claw its way out and sink its teeth into a solid food. (p.114)

Here he is describing the ferociously competitive literary world of Edwardian Prague:

In their panic it was every man for himself, a wild stampeded of gregarious loners grappling with monsters spawned in their own bellies. (p.155)

Or describing the detailed and self-punishing diaries Kafka kept all his adult life.

These so-called diaries assumed many forms and functions, from the writer’s version of the artist’s sketchbook to a tool for self-analysis; they were a fetishistic instrument of self-mutilation, a glimpse of reason at the heart of madness, and an errant light in the labyrinth of loneliness. (p.213)

In fact you can watch Pawel’s style go from sensible to overblown in just that one sentence.

I’ve read criticisms of the book which ridicule Pawel’s purple prose and certainly, from a po-faced academic point of view, much of his writing can sound a bit ludicrous. But as a reader I found it deeply enjoyable. It made me smile. Sometimes it was so over the top it made me laugh out loud.

I liked it for at least two reasons: after struggling with the long-winded and often very official and bureaucratic prose of late Kafka, reading Pawel’s juicy similes and purple paragraphs was like going from black and white to colour.

Secondly, it matches Kafka’s own hysteria. Kafka really was a very, very weird person. His letters abound in the most extreme language of paralysing fear and inchoate terror and crippling anxiety.

My fear… is my substance, and probably the best part of me.

He describes not being able to stand up for fear, not being able to walk for fear, not being able to face people or say anything because of the terror it caused him.

This craving I have for people which turns to fear the moment it reaches fulfilment (letter of July 1912)

– all symptoms of what Pawel calls his ‘near-pathological sensitivity’.

Kafka describes the way words crumble at his touch, his heart is going to explode, his head is too heavy to carry. He talked and wrote regularly about suicide (except that, in typical Kafkaesque fashion, he wrapped it round with paradoxes and parables).

Always the wish to die, and the still-just-hanging on, that alone is love (Diary, 22 October 113)

In other words, much of Pawel’s lurid and melodramatic writing, while not in the same league as Kafka’s, while much more obvious and pulpy and sometimes quite silly – nevertheless is not an unreasonable way to try and catch the permanent atmosphere of extremity and hyperbole which Kafka lived in all the time. I thought it was a reasonable attempt to translate Kafka’s own worldview from Kafkaese into phraseology which is easier for you and me to process and understand.

Fear, disgust, and rage were what this recalcitrant bundle of taut nerves, brittle bones, frail organs and coddled flesh had aroused in him from earliest childhood.

And sometimes Pawel’s phrases are so colourful and exaggerated that they’re funny. And humour, real laugh-out-loud humour, is in short supply in this story.


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