“I've had the experience of having some wonderful supervisees, many of whom have done quite fine work and where it has not been an issue of any kind of great concerns. And allowing the candidate to see what's written and also discussing it with them, obviously makes it quite easy for them to get both positive input, but also at times, input that will help them evolve and deepen their work even more.”

Episode Description: We begin by exploring the critical role of case writing in psychoanalytic training, discussing Stephen’s concept of "a fourth pillar of analytic training." Stephen introduces the dynamic interplay between writing and self-reflection, arguing that the act of writing illuminates resistances, countertransference, and areas of growth that might elude the analyst in supervision or personal analysis. He shares his innovative "three-minute chess match" technique for identifying the heart of a case narrative and reflects on his journey—from his mother’s poetry to his current work mentoring candidates in the art of case writing.

We explore Stephen’s insights on the 're-immersion anxiety' that can inhibit case writing, and how addressing these resistances transforms the writing process and deepens clinical work. We conclude with a discussion of how the process of writing fosters an enduring capacity for self-supervision and analytic insight.

Our Guest: Dr. Stephen Bernstein, MD is a Training and Supervising Analyst at the Boston Psychoanalytic Society and Institute and has chaired a discussion group on writing about analytic cases for over 30 years. He is a prolific author, including his recent paper, The Process of Case Writing: A Fourth Pillar of Analytic Training, published in the Journal of the American Psychoanalytic Association. Dr. Bernstein’s work highlights the centrality of case writing as an essential tool for self-reflection and professional development. Beyond his focus on writing, he has contributed to the field with early research demonstrating the compatibility of preparatory psychotherapy with psychoanalysis and continues to mentor candidates, fostering their growth as analysts and writers.

Recommended Readings:

• Bernstein, S. (2023). The Process of Case Writing: A Fourth Pillar of Analytic Training. Journal of the American Psychoanalytic Association.

• Gabbard, G. O. (2000). Disguise or Consent? Problems and Recommendations Concerning the Publication and Presentation of Clinical Material. International Journal of Psychoanalysis, 81, 1071-1086.

• Kantrowitz, J. L. (2004). Writing About Patients: I. Ways of Protecting Confidentiality and Analysts' Conflicts Over Choice of Method. Journal of the American Psychoanalytic Association, 52, 69-99.

• Stimmel, B. (2013). The Conundrum of Confidentiality. Canadian Journal of Psychoanalysis, 21(1), 84-106.

• Stein, M. H. (1988). Writing About Psychoanalysis: II. Analysts Who Write, Patients Who Read. Journal of the American Psychoanalytic Association, 36, 393-408.

“I feel so strongly about this [collective commemorative ritual]. I think that early psychoanalytic writing overemphasized the value of separation-individuation and pathologized the opposite. It's been through personal experience that I have come to see that in a different way with regard to Jewish commemorative ritual which takes place a couple of times a year. But also some experiences that I have had outside the realm of religion. The one that pops to mind was what President Biden did about a year after the first onslaught of the Covid epidemic. He had candles put all around the reflecting pool in Washington, one candle for every number of people who had died, and this was broadcast on television. I sat there and I wept over thousands of deaths, and then I began to think about the power of the experience of mourning with others. Despite the fact that we didn't all lose the same person, we had all lost somebody to this virus that was not as yet being managed. There was something incredibly powerful about that - in the same way for those who lost someone on 9/11 who go down to the Twin Towers and read the list of names every year. But we analysts have not theorized this stuff and I think it's time that we did.”

Episode Description: We begin with Joyce sharing with us her evolution from being a young analyst who was essentially ever available to her struggling patients to now being "more aware of the problematic edge to a kind of responsiveness that once felt simply necessary." We discuss what she calls analyst's 'secret delinquencies' - when the clinician intentionally withdraws from the patient into personal matters "so that the analyst becomes the single subject in the room." We consider post-treatment friendships between analyst and analysand and the nature of the evolution of the transference. Joyce shares with us her reflections on growing older and the mixed blessings it provides in terms of greater experience and clinical wisdom as well as a tempting "disengagement from an earlier sense of therapeutic discipline." We close with her suggestion that we consider the "dynamic function of commemorative ritual" not as a mere enactment but as a fulsome experience for "reworking old connections."

Our Guest:Joyce Slochower Ph.D., ABPP, is Professor Emerita of Psychology at Hunter College & the Graduate Center, CUNY; faculty, NYU Postdoctoral Program, Steven Mitchell Center, National Training Program of NIP, Philadelphia Center for Relational Studies & and PINC in San Francisco. She is the author of Holding and Psychoanalysis: A Relational Perspective (1996; & 2014) and Psychoanalytic Collisions (2006 & 2014), and co-Editor, with Lew Aron and Sue Grand, of “De-idealizing relational theory: a Critique from Within” and “Decentering Relational Theory: a Comparative Critique” (2018). Her new book, Psychoanalysis and the Unspoken, was released by Routledge in June 2024. She is in private practice in New York City.

Recommended Readings:

2024 Psychoanalysis and the Unspoken. NY, London: Routledge.

2024 Factions are Back. Journal of the American Psychoanal. Assn., 72(4): 561-582.

2018 Deidealizing Relational Theory: A Critique from Within. L. Aron, S. Grand, & J. Slochower, Eds. London: Routledge.

2017 Don’t tell anyone. Psychoanalytic Psychology, 34: 195-200.

2014 Holding and Psychoanalysis: A Relational Perspective (2nd Edition). New York: Routledge.

2014 Psychoanalytic Collisions: (2nd Edition), New York: Routledge.

"What Freud may have missed here is that the investment in the lost object is a much more reconstructive and integrative process. It’s one where we remember all the stories that we have heard from the lost object - the repetitive stories about the childhood of the person or how they met significant others and all these stories are within us and revived, and we have questions. We think: ‘Too bad I never asked about this or that’ and in activating these memories we also experience joy and we have a slow process of integration which is not necessarily about loss but about how continuous this person lives in our mind and that is a little bit the focus of this novel. It's in that sense a portrait of the mind and the process of mourning."

Episode Description: We begin with recognizing Cordelia's contributions to clinical and theoretical psychoanalysis in addition to her fiction writing. Her latest novel, Memento, has been described as "a journey through the labyrinth of the dream world" and invites the reader into the experiences of ambiguity, timelessness, and the absurd. On a theoretical level, Cordelia introduces the usefulness of the term lethe - the river in the underworld of Hades that causes people to forget their past when they drink from it. We discuss the distinction between libido and lethe and how they manifest themselves in the analytic setting. She emphasizes the importance of understanding aggression not as a stand-alone but as a container of further meaning. We close with her sharing her childhood story of wanting to please her father with her detailed knowledge - a sublimation that she continues to gain pleasure from to this day.

Our Guest: Cordelia Schmidt-Hellerau, Ph.D., is a Training and Supervising Analyst and on the Faculty of the Boston Psychoanalytic Society and Institute as well as of the Swiss Psychoanalytic Society. Her area of expertise is metapsychology, in particular drive theory and its clinical applications. An updated version of her monograph of Freud's metapsychology, Life Drive & Death Drive, Libido & Lethe, is just being published by International Psychoanalytic Books. Her psychoanalytic books and articles have been published in many languages. She has also published three novels and edited a Freud Reader, an Essay Book, and three collections of Short Stories. She is the Chair of the IPA in Culture Committee and works in private practice in Brookline, Massachusetts.

Recommended Readings:

Freud, S (1917) Morning and Melancholia. In Freud, S. Standard Edition, Vol IVX, 239 258

Schmidt-Hellerau, C. (2018) Driven to Survive. Selected Papers Psychoanalysis. New York: International, Psychoanalytic Books.

Schmidt-Hellerau, C. (2020) Memory’s Eyes. A New-York Oedipus Novel. Queens, NY: International Psychoanalytic Books.

Schmidt-Hellerau, C. (2023) Memento. A Novel in Dreams, Thoughts, and Images. New York: International Psychoanalytic Books.

Schmidt-Hellerau, C. (2024) Life Drive & Death Drive, Libido & Lethe. A clear road through Freud's metapsychology leading to helpful findings and new concepts. New York: International Psychoanalytic Books.

"A number of art schools in the early 60s said: “Clearly, it is the relationship of the painter to the medium that is the essence of painting - the painter must be emotionally present, and this is what we should instill in our students.” So they started to take away traditional training in art schools of representational drawing, of color theory, of figurative drawing, and what they ended up with was a generation of artists who were passionately throwing paint at canvases but unable to make art. The relationship between the fundamentals and intuition is very complicated. Nobody seemed to make the point that the great abstract expressionists were all trained for decades in traditional art schools. That’s what they came out of, and we see this in our analytic colleagues. Many of them are writing wonderfully at the moment, but they were trained as Kleinians or trained as ego psychologists, and they have that in their bone marrow. The kind of representational work with Apple [painting of his dog] that I am talking about when I say: I draw and I draw and I draw until I can put that aside, in analytic work I go to something basic in my training. For me it happens to be something that's close to Paul Gray, it's not where I'm going to stop, but I can use Paul Gray because that's what I was trained in - I will look for transference, I'll look for defense, I'll look for resistance and I'll go back and look for the derivatives of certain affects that are enacted in the relationship. I go over it and over it until I can relinquish it like I did with the painting of Apple, and then the intuitive comes in, but the intuitive is the reward at the end of decades of hard work."

Episode Description: We begin with Jon's mother's encouragement to paint by finding the bird's vitality through "becoming the bird." This leads us to consider the relationship between intuitive seeing and the "images which I might desire to produce." We discuss his notion of the aesthetic matrix which applies both to the analytic encounter as it does to the painter's relationship to his creative process. Jon shares with us his conviction that basic technique, whether artistic or analytic, must first become part of one's inner make-up before intuition can enlighten an obscure moment. He walks us through his creative process in the face of a blank canvas on the wall in front of him. He discusses the different uses of watercolor and oil paint and how their unique properties parallel his spontaneous engagement at various periods of an analysis. He presents a clinical encounter and how he was able to unpack a countertransference impasse through working on a painting. He closes with sharing an experience he had in his native South Africa which leads him to feel that "it's a blessing to be able to work in America."

Linked Paper and Websites:

The Aesthetic Matrix: A Conversation Between a Painter and a Psychoanalyst

“The historian [of the vineyard] gave us regular feedback on what she was finding, and she also brought in oral historians to take our own life histories. There's also a psychoanalytical point to be made here - you can take refuge in this scholarly exercise, going into archives and finding out things that happened hundreds of years ago, you can all too easily remove yourself from that: ‘This is what happened long, long ago’. But all of us on this farm, we had all lived through Apartheid. The oral historians who wanted to participate, we met over many sessions in my living room and the oral historians asked each of us who volunteered to participate to tell our stories of our lives and it was a real revelation to me. Despite my abstract awareness, the actual concrete listening to people who I was getting to know as individuals, to hear one after another account of the grinding poverty of what it actually is like to be a poor black farm worker in South Africa under Apartheid."

Episode Description: Mark shares with us his original intent to make a "citizen-sized contribution to the reconstruction" of South Africa through redressing the inequalities that formed a basis of his family's vineyard. He describes going through a painful process of enlightenment where good intentions themselves were insufficient to honor the historical processes that lived inside the owner and the tenant farmers who have been on the land for generations. Psychoanalytically informed, he consulted a historian and archeologist to, along with the farmers, dig into both the land and the lives of all involved. This led to a rebalancing of the pride/shame dynamic that had existed in the owner/workers. When faced with the inevitable question, "Must I give the farm back?" Mark discusses what he felt was the difference between ‘self-interest’ and ‘selfish-interest’. He shares with us the efforts he took to enable the workers to become landowners, to become educated and also to become discoverers and messengers of their historically rich cuisine and music. He also details the ‘not so happy ending; of these efforts as his farm has struggled financially under the burden of these considerable costs and government corruption. Things have turned around of late and there is reason to be optimistic for the long-term flourishing of his vineyard and his “citizen sized” contribution to the well-being of those with whom he works.

Our Guest: Mark Solms, PhD is a member of the British Psychoanalytical Society and the American and South African Psychoanalytic Associations. He is Director of Neuropsychology at the Neuroscience Institute of the University of Cape Town. He is an Honorary Fellow of the American College of Psychiatrists. He has received numerous honors and awards, including the Sigourney Prize. He has published 350 scientific papers, and eight books, the latest being The Hidden Spring (Norton, 2021). He is the authorized editor and translator of the Revised Standard Edition of the Complete Psychological Works of Sigmund Freud (24 volumes) and the forthcoming Complete Neuroscientific Works of Sigmund Freud (4 volumes).

Recommended Reading:

Solms, M. (2015) Psychoanalysis in Pursuit of Truth and Reconciliation on a South African Farm: Commentary on Gobodo-Madikizela. Journal of the American Psychoanalytic Association 63:1147-1158

“I was very interested in the unspoken thoughts and feelings of the patient because I think one of the things about free association is that in the beginning most of what's going on with the patient is unsaid. As the analysis evolves more and more of the unspoken becomes spoken and more of it becomes at the center of the analytic space. I wanted to show the evolution of the unsaid. At the beginning of the book, the unsaid is more than the said, and then it evolves as the analysis goes on.”

Episode Description: We begin discussing Roberta’s first career as a sociologist which she described as an effort to disengage from her self-focused ruminations. She pursued psychoanalytic training after receiving her PhD in sociology. She also continued as a writer of both fiction and non-fiction. Both genres represented her personal as well as other-oriented reflections. Her book Our Time is Up is likewise a combined memoir and novel – she both is and isn’t the young woman 'Rose' whose analysis with ‘Joan’ forms the essence of this work. She reads sections from the book that describe her first meeting with her analyst as well as when the analyst’s illness is introduced into their treatment. The book concludes with 'Rose' saying, “Frida Kahlo said about Diego Rivera, ‘He took me shattered and returned me in one piece, whole.’ I could say the same thing about Joan.”

Our Guest: Roberta Satow is a practicing psychoanalyst in Washington, CT; a senior member of the National Psychological Association for Psychoanalysis and Professor Emerita of Sociology at Brooklyn College and the Graduate Center of the City University of New York. In addition to her non-fiction books Gender and Social Life and Doing the Right Thing: Taking Care of Your Elderly Parents Even if They Didn’t Take Care of You, she has written two novels, Two Sisters of Coyoacan and Our Time is Up. Dr. Satow also writes blogs on Psychology Today and psychology.net.

Recommended Readings:

Roberta Satow, Our Time is Up, IPBooks, 2024.

Roberta Satow, Two Sisters of Coyoacan, 2017.

Roberta Satow, Doing the Right Thing: Taking Care of Your Elderly Parents Even if They Didn’t Take Care of You (Tarcher/Penguin 2006).

Roberta Satow, Psychology Today Blog.

Roberta Satow, Psychotherapy Blog

Roberta Satow, A Case of Severe Penis Envy: The Convergence of Cultural and Individual Intra-Psychic Factors, Journal of the American Acad. of Psychoan. October 1983.