Excerpts from Andy Fitch'south hybrid-genre manuscript, Garageland, a finalist for the 2015 TS Volume Prize.

INTRODUCTION

Two years ago, jogging on my basement treadmill in Wyoming while watching The Clash film Rude Boy, I realized I had entered a second stage of American exile (the beginning phase took place in the Milwaukee suburbs in the 90s). I since have regressed to systematic report of my life'due south determinative influences (Friedrich Nietzsche, Sigmund Freud and Roland Barthes on the literary side, The Clash, Joy Division/New Order and The Smiths from music).

I call the trilogy coming out of this personal crisis Garageland. I hither include excerpts from the Clash-Nietzsche component (also called "Garageland") and the Freud-Joy Division/New Order component (entitled "Transmission"). I am working on the tertiary component, focusing on Barthes-The Smiths, this summer, and have provisionally titled it "Panic."

"Garageland" presents a simultaneous reading-through both of Friedrich Nietzsche'south complete literary corpus and of The Clash's recorded songbook. Every entry has precisely as many words as in that location are seconds in a given Clash song. Echoing Matsuo Bashō'southward classic haibun fusion of prose flourishes and lyric pauses, each entry gets followed by a haiku-similar passage (written outdoors, while hiking, in homage to Nietzsche). The overall manuscript examines what information technology would mean to read Nietzsche's diffusive books the way that listeners "read" eclectic popular albums. It probes the philosophical legacy of punk as nosotros move farther from punk's item historical origins. It tracks a lived (living) history of Nietzsche and The Clash.

"Transmission" explores cognitive and sonic possibilities within the question and the notation. Its main component consists entirely of question-sets directed to ane of history's nigh complete questioners, Sigmund Freud. Its secondary, haiku-based component tracks processes of transmission by interlacing Joy Sectionalization and New Order lyrics among a systematic series of domestic (interior) interludes. The overall projection seeks to unite/reunite question and answer, text and reader, analyst and patient, mood and song.

FROM GARAGELAND

The Magnificent Seven

In Nietzsche: Philosopher, Psychologist, Antichrist, Walter Kaufmann claims that whatsoever attempt to define his discipline'southward significance through unmarried-minded juxtaposition (say, to Carlyle, Christ, Dostoyevsky, Emerson, Goethe, Hitler, Kierkegaard, Luther, Thomas Mann—Kaufmann'due south list of preceding attempts stretches on) remains "spring to be misleading." So explain your consistent recourse to The Clash, specifically in relation to Kaufmann's early chapter "Nietzsche's Method." Frustrated by the selective purging through which Elisabeth Förster-Nietzsche'southward proto-fascist psuedo-scholars shaped a constrictive reception of her brother's oeuvre, and also by oppositional attempts to essentialize the cocky-contradicting nature of Nietzsche's every conception (most famously in Karl Jaspers' Nietzsche: An Introduction to the Understanding of his Philosophical Action), Kaufmann stakes out an emergent existential field in which Nietzsche's polyphonic style reflects an embodied "'living through'" of philosophical bug—an impassioned, indefatigably experimental presence confirming the greater unity. Kaufmann's existentialist rhetoric yet loses yous, though his description of Nietzsche's monadological tendency to construct self-sufficient miniatures (simultaneously reflecting back upon each other every bit well as upon countless cross-disciplinary concerns) always made sense. From the starting time, you lot found Nietzsche'due south cumulative force to lie in an additive style of construction, one that posits, in this philosopher's ain terms, not a "rational foundation" of proofs from which all subsequent claims derive, merely instead a "typology" of recurrent crystallizations, a descriptive prowess that surveys disparate "subtle feelings of value and differences of value which are live, grow, beget and perish." And hither, based on your own life until that betoken, you would picture a successful pop album: proceeding not in accordance with some systematic plan; building its composite significance through dynamic tonal shifts amidst detached units; perchance but complete once given a title and front-cover icon. Rereading Beyond Good and Evil, with its nine distinct parts plus preface and aftersong, you lot now return to that album metaphor. You lot sense, equally songs, your favorite would be "Epigrams and Interludes" (your least, "Peoples and Fatherlands"). Yous assume the virtually productive juxtaposition between Nietzsche's kaleidoscopic corpus and a Disharmonism album must prioritize Sandinista!. Every bit far as this band e'er will depart from the ascetic purity of their eponymous debut, Sandinista!'s able-bodied eclecticism, its "elapsing of high feelings," makes this collection impossible to summarize, fifty-fifty to innovate, though "The Magnificent 7's" all-encompassing ramble seems a good place to start. Fifty-fifty this vocal's purportedly Marxist critique resists teleological climax, spinning out i discursive collage afterwards another, punctuated past voices of conviction (or its opposite) peradventure, but delivering no conclusive analysis: "A machine in the refrigerator / Or a fridge in the car? / Like cowboys exercise—in TV country / You lot! What? Don't terminate. Huh?" Nigh more often than not, "Magnificent Seven's" non-sequiturs ("Italian mobster shoots a lobster") notwithstanding crack you up, and the song itself offers one big non-sequitur—one of the starting time hip-hop recordings by a white ring, ane of few insistent tracks on this meandering triple album. For monadological pulse: evidently, Norman Watt-Roy's funk-disco bassline, which yous barely can detect in the more rocking, unfriendly, monochromatic live performances (these sometimes also lack Micky Gallagher's absurd keyboard). For favorite line to oral cavity ("oral fissure" as a verb, because, for you, all music happens in the mouth): "Churning out that boogaloo." [528]

Fank, outset panting, so spots gold butterfly

clouds, blue, could take been the mountaintops

broken bike reflector where 3 trails curve

Rebel Flit

Begin with familiar precept that for political extremists, bandit gangs, the individual criminal's censor, outward pressures promote cohesion. Take those more "severe, abstemious, heroic" figures whom Nietzsche categorizes as "pale atheists, anti-Christians…hectics of the spirit" (punk'south more rigorous precursors), and consider how their iconoclastic professions bear forth puritanical qualities, prompt less a frenetic free-for-all than single-minded organized religion, some terminal-bastion monotheistic monopoly on righteousness. Finally, add the Genealogy's basic methodological assumptions that "crusade and origin of a matter and its eventual…employment…lie worlds apart," that productive social movements derive from "a continuous sign-chain of e'er new interpretations and adaptations" (right here yous picture Roland Barthes'south enigmatic arrows in Preparation of the Novel), that all cracking achievements, premised from the commencement upon perpetual self-overcoming, eventually bring about their own destruction. Amid this 3-fold bind, punk faces only ominous possibilities. Punk tin can watch its ascetic/aesthetic grouping bailiwick misemploy as item bands attain recognition, later question their combative trappings, generate scorn, resentment, shame amid less popular peers. Punk can reinforce its originary gripe, even as the historical context begins to shift, and soon risk self-parody as it reapplies static vocabularies to an evolving scene. Or it can participate in its ain cooptation, inadvertently provoking "comedians of this ideal," opportunistic poseurs good at exploiting pocket-size semiotic slips until these accumulate into full-scale revaluation—prioritizing spiky haircuts and sneering music videos at the expense of pointed political messaging or liberatory social institutions. Permanent rebels, at least for the starry expanse of this song, Joe and Paul outwit all such prospects: reconvening the group's original impetus with meteorite-like battle cry; recalibrating their combustive audio to a more than subdued, reflective, elegiac grade of testimony; reframing their sometimes casually struck defiant pose equally sincere engagement with global-justice movements. Lorca-esque bricolage resurfaces amidst an impressionist lyric that triumphs (if only) in its resolve not to internalize catastrophic defeat. Most particularly poignant line: "In a glade through the trees I saw my just one." [325]

leaves nevertheless glistening or dewy in shade

soft pine-needle ground becomes a idea, ends

brume with space curves betwixt strict hilltops

The Crooked Crush

Bass starts this song, then brass, guitar, drums bring together. Paul first sings of "the states" making a midnight run, though soon shifts to describing "they" who fill the tower blocks of his hometown. Paul's insider/outsider condition remains to exist determined, perhaps confounded. On the Genealogy of Morals' start essay considers the battle of Rome against Judea (of an aristocratic "good and bad" versus a plebian "expert and evil") the deadly struggle "inscribed in messages legible across all homo history." Notwithstanding for punk, Nietzsche'south recurrent distinction between a differential desolation of distance and a democratizing herd mentality seems a chip more pertinent. Does Paul admire his immigrant neighbors, or appoint with them? Do they provide everyday, average glimpses of London, or something exotic, exceptional? Subsequent tensions, or "pressures," in Paul's Maytal-infused lingo, come up to a head equally police badges flash and sirens wail, "taking one and all to jail" (including Paul? Does his culminating "Prance! Prance! You desire a police to dance?" suggest collective struggle? Detached editorializing? A stepping in and out of that kleptomaniacal crooked street between projection and participation?). Artists might, equally Nietzsche claims, require a prop, and Paul's might be Jamaica, notwithstanding this need not preclude countless overturning of one'due south position, especially since "all events in the organic world are a subduing, a condign master, and all subduing and becoming main involves a fresh interpretation." The Genealogy'southward critique of artistic props, for case, provides as its case Wagner's revaluation of Schopenhauer, thereby packing in Nietzsche'southward own two favorite points of agonistic reference (props). And you yourself have packed little quotations from Nietzsche as props for decades now, disdaining the inference of big ideas, the construction of overarching theses—the standard bookish props. You've much preferred, again in the Genealogy'south terms, to avoid envisaging Nietzschean concepts as comprehensive totalities, perceived past the systematizing spectator. You've wished to go ensnared, countless times, amid their judgement-level traces, amid tactile pursuits of their promesse de bonheur. Yous sense some similar, Bolero-like quality to this vocal, with horns, organs, dripping h2o, strategically placed "Whoahs!" chiming in to prompt farther move, pushing its nonetheless crooked shell forrard. Even Paul'southward minimalist phrasings ("Have a slice of fabric, a money for thirst / For the sweat volition start to run") never betray the orator's trend to "think in words," to recall always of "himself and his listeners." Paul, like Topper before him (on this sole album to showcase all Disharmonism voices), thinks in terms of stride, rhythm. In doing so, stepping in and out of this syncopated crush, he tin can't aid but fulfill the Genealogy's predominant prescription for a perspective seeing, a perspective "'knowing'": "the more than affects nosotros allow to speak about one thing, the more eyes, different eyes we…use to observe one thing, the more complete volition our 'concept' of this thing, our 'objectivity' be." This song goes on, rephrasing itself, providing time and space for a long dark out, potentially extended by jail stops, court cases. Mikey Dread opens further interpretive possibilities within that beat, mayhap crying (or you've e'er heard) "It's a bird. Information technology's a aeroplane. No…. information technology'south a dog Weinstein lane." He concludes the groove calling either "birddog" or "murder." [529]

scanning up steep fields smeared wilted yellowish flowers

big, hovering bee-shaped flies then seem to sting

rough rock terrains with tree roots take over

Somebody Got Murdered

Mick narrates an elliptical sequence of suppression, oblivion, footling distraction as old guys drinkable off concluding night'due south crimes, the titillated crowd disperses, the 1 cogitating witness gets left "with a touch." Joe takes over for that schizoid, later paranoid resident sensing murder happen "downwardly beneath," while Topper's percussive dog Battersea helps alloy insistent door-knock drums. Since punk, like pop, so often relies upon the ascetic priest's fine art of modest detonations, of deadening, through dosages of bear on, some "tormenting secret pain…becoming unendurable," 1 waits and waits hither for a half-cathartic message. Y'all feel quite comfortable amid such waiting. You mostly go moved when thoughts come slowly. You don't actually assess the accurateness of Nietzsche's thesis regarding the "bad conscience's" historical origins, yet do become fixated by his claim that such theses "need to be pondered, lived with, and slept on for a long time." Parsing this fact of mental-metabolic duration brings back fears (veiny chills) of quick, unsuspected death. Y'all'd want to process the significance of your own murder. To take this possibility stolen, to lose that confident position equally one who can absorb anything over fourth dimension, would erase what you've always sensed almost yourself, and with that it would be "Goodbye, for keeps, forever." Here it fits that The Clash wrote "Somebody Got Murdered" for a thriller film. The vocal retains a decorative quality. Decorative art always has seemed much more profound, prone to prompt reflection on the fragile globe you inhabit. That movie'southward manager (Jack Nitzsche) than skipped this song. Several alive clips remain. The 1983 US Festival, with Mick's stadium-sized chord changes first distinct, so disappointing—though his shrill vocals stay pretty practiced. The 1981 Sandinista! tour'due south Barcelona launch, characteristically intimate, infinitely better, Mick pelted past beer cups, proving himself a real rock star, sturdy, flaming. Topper overturns, overcomes the concluding drums (already you miss that side of Topper, hidden perhaps by his virtuoso versatility on this album). Finally then, render to the anthology, to rail 10'southward instantaneous polish cymbal opening. [334]

noise from the spider, green, off the ground

leaves' shadows (spreading trails) look cleaner every day

calorie-free in a fence'southward latches catches while opening

Lightning Strikes (Not In one case but Twice)

For some songs you'd recommend sitting with lyrics once while listening. You tin't imagine doing that and disliking "Lightning Strikes" (except, reasonably, due to the belatedly, loose, overly exuberant "Hey, Chi Man" lines). You consider this revisionary "Magnificent Seven" much more effective than Sandinista!'s subsequent dubs at keeping The Clash a clash, a "quantum of forcefulness"—non the fixed, autonomous subject field of unreflective grammar, but the propulsive, always-transformational "driving, willing, effecting" that Nietzsche himself appreciates in Hericlitean lightning metaphors. Genealogy of Morals takes up the popular mistake of separating "lightning from its wink" (of categorizing the former as "'active'" amanuensis producing the latter) in order to question prevailing conceptions of causality, here with Emersonian aphoristic flair: "'the doer' is merely a fiction added to the human activity." And again Nietzsche'southward ain grammatical constructs, peculiarly the repeated "You will have guessed by now" phrase (oft followed by nevertheless some other counterintuitive formulation), seem pitched to generate analogous rhetorical sparks, absent any eminent authorial assertion. Withal Nietzsche, of course, does not dwell in the second-person for long, and neither does Joe, here working overtime to meld punk's distrust of charismatic personhood with hip-hop'south bragging, self-centering flow—all leading to perhaps his most athletic, effervescent performance on record. Conversational convergence ("Await out, expect out, old New York / New York'due south coming and New York talks") launches this latest rock-rap ramble, picking up momentum every bit a sequence of dollar- and perhaps drug-infused movements ("Leave your money, peel a slab / Coil some notes and hail a cab / Drive in church, drive in bank / Drive down 7th in a tank") culminates in critique of more constricted, grade-jump, old earth propositions ("Three to a motorcar Brooklyn Bridge / You won't go far if y'all're privileged / Graffiti Jack sprays in black / An Englishman, can he read it back?"). Even so you haven't reached this vocal'due south midpoint. Punk'due south minimalist, nay-saying ethos will dissipate further amongst the kaleidoscopic cataloging ("Harlem slum to penthouse cake / On every door I already knocked"), amid the effusive reading of Manhattan'south skyline ("Lightning strike [strike] / Old New York / Everything's calorie-free), the hilariously unscannable insertion of arrivé insider'southward knowledge ("Merely idea I'd mention the new extension that runs down the 59th Street intersection"). Even the timely Tootsie reference finds its mode, as does the more timeless reflection on New York friendship with its charming, fortuitous, overstimulated trajectory ("I'll run across y'all when the lightning strike"). And so equally for Topper'south funk fluidity: y'all've always imagined that'due south him on the phone with W.B.A.I., preceding "Lightning Strikes'due south" first beat, impatient, calling in a productive/subversive frenzy, interrupting the easygoing broadcast to inquire "Tin I try and give a message? Hallo?… Let's have some music now, eh?" [451]

curved around hot sage odor, orangish butterflies, apex

Dad's ankles shortly torn by tan uneven rock

permanent canyon haze (familiar migrate) from distant waterfall

Upwardly in Heaven (Non Merely Hither)

Attempt to justify this masterful song'south more ambience final infinitesimal, which utilitarian English critics use to decry its (by extension, Sandinista!'s) slack purposelessness. First, no one denies the urgency of "Up in Sky's" sweeping guitar chords, taut rhythms, difficult questions starting correct away with "Watcha gonna do when the darkness surrounds?" Mick's retrospective (slightly mythologized) take on his council-flats existence stays moving, critics contend, throughout its impassioned evocation of jerry-built lifts, of current of air-tilted structures, of Phil Ochs's gloomy "United Fruit" folk passage "'Allianza dollars are spent / To enhance the towering buildings / For the weary bones of the workers / To go dorsum in the morn.'" You lot, too, dear all that, especially Mick'southward subsequent add-on "To be strong in the morning time"—then how this whole stanza gets repeated as crumbling towers go on rise, as workers go along working: "Information technology has been said," Mick keeps reminding united states of america, and "non only here." Up to this signal, broad consensus on a terrific protest song. OK, just based on your current place in life (finally enclosed, most xl years later, "within the walls of society and…peace," with all your more "wild, free, prowling" instincts turned back upon themselves), based on your contempo reading (Nietzsche's cogent condemnation of a resentiment that takes reaction as its fundamental grade of activity, and yet with this philosopher himself chronically reactive, caustic, paranoid, carried away by fictive, quasi-narcissistic constructs), all protest songs, of whatever political valence, begin to lose traction. Yous ask yourself what value (in terms of life, of action) "Upwardly in Heaven's" bizarre punk/pop fusion holds, for precisely which audience. You wonder if Mick's departure from punk sound, if non punk sentiment, betrays its own escapist anxieties earlier what Nietzsche describes as the two worst contagions: "great nausea at man," "groovy pity for human being." Though then the song merely sits in that location, amid a dense urban block'southward closest approximation to silence, with no sonic vistas, no outlet beyond the calming of one's self-consciousness. And then the music comes back, an extended, resurgent groove that could seem hopelessly corny if it carried less affective/interpretive heft. This song needed that pause, that momentary negation, or you did, not every bit a form of denying the world, not because it is virtuous to embody "freedom from compulsion, disturbance, racket," nor because everyone must seek "good air, sparse, clear, open, dry…the air of heights," just simply because such weather condition constitute your own best existence, your fairest fruitfulness, your halting chance to recognize, amid humanity's apprehensive reality estates, not a goal but "only a way, an episode, a bridge, a great hope— " [431]

rushing stream sound sticks all brown sticky afternoon

for in one case seeing into one rustling bush—robin

but dry cricket snaps start pulling apart summertime

The Audio of Sinners

Nietzsche'south "Case of Wagner" essay, its clarifying second postscript, farther distinguishes between epochs that foster ascending and descending life. Once more, Nietzsche's most basic demarcation contrasts Roman/Renaissance mores (which, through overabundance of forcefulness, help to transfigure, to beautify beingness) and Christian value concepts (betraying morbid roots past making the world more stake, more ugly, negating life). Since both perspectives derive from irrevocable physiological facts, information technology does philosophy little proficient to proclaim either vantage "'true'" or "'untrue." Accordingly, Nietzsche criticizes Wagner not for adopting any i particular view, but for importing a "noble morality (Icelandic saga…virtually its near of import certificate) while mouthing the counterdoctrine…'gospel of the lowly.'" And needless to say, The Clash's nigh eclectic album produces its ain contradictory compounds—celebrates such tendencies with this gospel-inflected "Audio of Sinners." Hither yous've skipped past worthwhile songs ("Corner Soul," "If Music Could Talk") to complete "Expiry or Celebrity's" punk-life timeline: commencement fucking nuns, then subsequently joining the church building. Consider, for instance, the frequency with which Nietzsche will restate/reclaim/reenact New Attestation narrative in the twelvemonth to come. Count the number of "No's" that pepper Joe's upbeat preaching. Patiently wait, as with "Upwards in Heaven," for fading music to resurge, for sweet transvestite from transsexual Transylvania Tim Curry to make his cameo as fundraising Sunday-service emcee. In all such cases, both Nietzsche and The Clash recognize that we moderns take absorbed "involuntarily in our bodies, values, words, formulas, moralities of opposite descent." Merely decadence has progressed, over the intervening century, to the extent that Nietzsche's prudish class- and race-mixing proscriptions themselves have become fourth dimension-spring banalities to be resisted. You'd prefer to trace a more than cosmopolitan trajectory from Nietzsche's prodigious scholarship-without-footnotes practise, to W.E.B. Du Bois' heterogeneous invocations for Souls of Black Folk chapters ("Negro Spiritual," Schiller, Byron, Swinburne, "Ms. Browning"), to dejection singers' teeming incarnations of shared nicknames and personae, to Virginia Woolf's interspecies Affluent, to Lou Reed'due south post-Stonewall Transformer cabaret, to Kraftwerk'south burgeoning Man-Machine, all the way to Joe warning Texas punks he'due south about to give them a little Jesus. You question the recent Nietzsche-studies scandal concerning Julian Young'due south purported plagiarizing from the exhaustive (again tinged past reactionary tantrums) Curtis Cate biography. Yous recognize the proprietary problem, withal find information technology hard to get worked up and then long every bit a fuel of rhetoric rains from the sky, the sea of lava flows downwards the mountain, the time keeps sweeping us sinners by. [400]

rocks squeak because of rut it seems

shadow of a hornet lands on itself

ringing ear, chest pains, bike passes, spider web

FROM Transmission

Introductory Lectures on Psycho-Assay

Introduction

What adept comes from "Yous can't have any notion…"-type claims?

Parapraxes

Could we former explore your use of "rule"…which seems to mean "frequent occurrence"?

Parapraxes (continued)

Performative/defensive/imperative phrasings ("Do non interrupt me at this point by objecting that that is impossible") soon sound positively insulting…presumptuous in their promise to have cataloged all your audience'due south thoughts ("But at present I encounter…yous…preparing to overwhelm me with a mass of questions and doubts…. Allow us accept them all in due order…ane subsequently the other…and give them cool consideration…. Is in that location anything else you want to ask…. If not…I will keep myself")…projecting categorical limitations onto individuals (real or imagined) get exigent cipher…patronizing ("Y'all do not realize…probably…what a momentous question this is")…persistently dismissive in ways that only could seem symptomatic…of?

Parapraxes (connected)

If…immediately following an introduction to the "dynamic view"…I note…let'southward say on the 2-page spread 68-69…you declaring "No 1 likes making slips of the tongue"…and I linger on that repeated phrase "slips of the tongue"…so observe you stating "Slips of the tongue are besides in a sure sense contagious"…"nevertheless not difficult to penetrate"…"non a matter of indifference how he treats his female parent-tongue"…"slips of the tongue are contractions and anticipations"…"melt into 1 another"…"touch…essence of the procedure"…and so see yous move on to "slips of the pen"…to "Perhaps we may glean 1 little farther signal"…to "extremely common small slips of the pen…contractions and anticipations"…to "A skid of the pen is just equally often overlooked by…person responsible as a sideslip of…natural language"…("pen is")…to "An interesting problem attaches to…practical importance of slips of the pen"…to quoting someone (a murderer…no less) on "my experiments on men"…do we not need to adopt the dynamic view of writing…of reading…to business organization ourselves directly with "infecting men"…to take solace from fact that "Proof of…particular purpose is no argument against…existence of…contrary…there is room for both"?

Difficulties and First Approaches

Once more you fence creative writers use day-dreams to construct hero-driven plots for stories…novels…plays…but could you concisely characterize relations between day-dream and philosophical thinking…scientific reflection…empathic act of assay?

The Premises and Technique of Estimation

You pledge to show "our science" equally it is (crude…demanding…hesitant)…since only then tin can nosotros larn the art of working-through resistances…yet only equally…when patient offers nix by way of interpretation…you'd recommend contradicting him…bringing pressures to bear…insisting something must occur…don't you lot crave antagonistic response from the states…don't you in one case more choice a fight with us ("In one case before I ventured to tell you that yous nourish a deeply rooted organized religion in undetermined psychical events")…don't you need active resistance to prompt your own rhetorical pivots ("You are correct…but you are overlooking one gene")…does our silence so trouble you?

The Manifest Content of Dreams and the Latent Dream-Thoughts

Since dream'south ostensible content doesn't thing much (already a substitute anyway…with exploratory work all-time directed toward what has remained unconscious…whence resistance comes)…I'd wanted to enquire if you lot consider your literary mode of representing dream-analysis a failure…a bossy bore…provoking torpor for reader…as I often do…though hither the analysis itself fails…so you tell the states at this lecture's stop…on purpose?

Children'south Dreams

Why act as if yous don't desire to advance "as well speedily"…as if ane gains nothing that way…equally if anticipatory confusions disturb sleep rather than guarding against its disturbance?

The Censorship of Dreams

Strachey points to translational obscurities…sometimes conflating "purposes" and "trends" for case…then could you then (even as y'all go on externalizing…exorcizing and/or containing our resistance…fifty-fifty equally you entreatment to self-axiomatic withal often denied evils in the social…the wartime earth)…either in High german or English…betoken to equivalent ambiguities emanating from the give-and-take "introduce" (every bit in Introductory Lectures)?

Symbolism in Dreams

Our most typical representation of "the human figure equally a whole" remains the house (how about a canis familiaris in a house?)?

The Dream Work

If "the 'creative' imagination" does non invent…only can combine…does intellectual thought do any dissimilar (do we read for this reason?)…does psycho-assay (don't you go testy without patients…without audition?)…won't you ever thoroughly describe secondary processing?

Some Analyses of Sample Dreams

Couldn't you footnote this talk?

The Archaic Features and Infantilism of Dreams

Had you really already made such points about primary hatred towards one's siblings…"unmistakable inclination to disavowal"?

Wish-Fulfillment

I capeesh the ingenious defenses of wish-fulfillment theory (that dreams producing anxious touch nonetheless contain desirable content…in fact recap wish-fulfillment mechanisms delivering demanded result regardless of whether they alter the atmospheric tone…or that…when wish-fulfillment seems to distress the dreamer…this merely confirms that dreamer and wisher "can only exist compared to an affiliation of ii split people" prepared to punish each other…or that feet can substitute for censorship…thereby allowing consciously repudiated wish to occur under comprehend of bad feeling)…but don't nosotros still encounter some circular argument (accurate dream discloses wish-fulfillment…lack of wish-fulfillment suggests incomplete interpretation) cloaked by strikingly weak feints/synopses/extensions ("I can empathise all this very clearly…merely…cannot tell whether I have succeeded in making it intelligible to y'all"…"One time once again y'all accept merely heard something incomplete…. But is information technology not hopeful to reflect that this knowing has a continuation…which either we ourselves or other people will bring to calorie-free?") carried forth through incessant return to iii-theater-tickets-for-1-florin-50 dream…equally if suggesting your own functioning anxiety…your scopophiliac preference to sit…stare out…keep studying?

Uncertainties and Criticisms

Amid defeatist phrasings ("on the reverse ambiguity or indefiniteness is a characteristic of dreams which was necessarily to be predictable") and distracting Chinoiseries (An extremely ancient language and script…still used past four hundred million people…")…does information technology seem fair to reply that yes…all "archaic" systems of expression…dreams included…produce points of uncertainty…for which one shouldn't blame their interpreters…though did you and so demand to base numerous psycho-analytic applications off such flimsy premises?

Psycho-Analysis and Psychiatry

How did nosotros arrive at the criminal offense you take when patients don't shut office doors…the jealous wife in dear with son-in-police force…the strained analogy between bans on anatomists dissecting corpses and broader social aversion to "sound knowledge of…deeper-lying unconscious processes in mental life"?

The Sense of Symptoms

Obsessional neuroses again go called "crazy"…mayhap may seem so…but a pendulum clock'due south regular ticking "never" disturbs sleep (thrilling…by the way…to read briskly once again of neurotic symptoms/obsessive acts…though then that unnecessary Jung takedown?)?

Fixation to Traumas—The Unconscious

Didn't you recently state yous'd given Breuer also much credit (or…how much does therapy consist in waiting for patient to retrieve…or if you lot tell people "more on every bespeak than [they] can at the moment make use of"…and if we consider trauma "experience which within…brusk period of time presents the mind with an increase of stimulus too powerful to be dealt with…the normal way"…then why traumatize student…patient…reader?)?

Resistance and Repression

Analysis'due south fundamental rule of free association…this demand that patient "follow only the surface of…consciousness and…get out aside any criticism"…e'er has seemed impossible for all simply the most deft…self-reflective/self-accepting experts (perhaps like reading…probably a waste material of time in almost every circumstance)…and you further confirm this fact by detailing diversified modes of evasion patients (readers?) pursue…and here I gain some purchase on the author's precarious position (highly-seasoned…at all-time…to a disquisitional kinesthesia which never becomes an "independent role…to be respected as such"…but rather "the tool of…emotional attitudes…directed past resistance")…on your occasionally desperate…transference-craving constructions ("I should like to accept you admit that…")…and given your canny unconscious/preconscious/witting metaphor from the photographic procedure (which "begins as a negative and merely becomes a picture after being turned into a positive…. Non every negative…however…necessarily becomes a positive…nor is it necessary that every unconscious mental process should plough into a conscious one")…do y'all deliberately leave a generative gap at this talk's centre…in the weird claim that yous know these very concepts "are rough…and…more than that…they are incorrect…and…I already have something ameliorate to take their place"?

The Sexual Life of Human Beings

If "Sucking at…mother'south chest is…starting-point of the whole of sexual life"…can we really consider auto-eroticism our master sexual experience…if babe cannot differentiate betwixt ii bodies…do agile/passive processes truly go combined (followed past two tangents…one errant…"The process of a girl'south becoming a adult female depends very much on…clitoris passing on this sensitivity to…vaginal orifice in good time and completely"…one insightful…for me at least…"The sense of beingness defrauded of…truth by…grown-ups contributes much to making children feel alone and to developing their independence")?

The Development of the Libido and the Sexual Organizations

The libido lecture starts past greeting only "Gentlemen" (instead of your typical "Ladies and Gentlemen")…states "I am nether the impression…I have not succeeded in bringing home…quite convincingly the importance of the perversions for our view of sexuality"…because of something some student said to y'all…considering preceding talks sounded unclear in your caput…shall we phone call these lectures auto-erotic (and then…quite separately…the latency catamenia might not occur…remains a cultural phenomenon…also many people orgasm just from kissing?)?

Some Thoughts on Evolution and Regression—Aetiology

Given the clarifying/colonizing analogy for circumstantial ego development and predisposing instinctual fixation ("Consider that…if a people…in motility has left potent detachments behind at…stopping-places on its migration…information technology is likely that…more advanced parties…will retreat to these stopping-places if they…come up up against a superior enemy…. But they will also be in…greater danger of existence defeated the more of their number they have left behind")…could we account for my whole (comfortable) life…even for you lot…just when I hither get bored…stating "Discussions like this…Gentlemen…are jump to go somewhat barren"?

The Paths to the Formation of Symptoms

Did whatsoever listening students know you lot got Darwin wrong (fading on these second-yr…written rather than impromptu/imagined lectures…sensing how effective your aesthetically motivated departures from verbatim text had been…missing that more productive mode of equating phantasy and reality…preferring the central pedagogical scene you in one case permitted yourself)?

The Common Neurotic State

Will breezes make me feel down all day…simply since I sweated a bit this morning?

Anxiety

Could I signal out…while we even so accept space…two types of lines that make pieces memorable…

"A child is frightened of a foreign face because he is adjusted to the sight of a familiar and beloved figure…ultimately…his mother" (just what I'd thought all twenty-four hour period wandering this ski town)

"weakness of the defensive system in phobias lies…of course…in…fact that the fortress which has been and so greatly strengthened towards the exterior remains accessible from inside" (explains my whole "career")?

The Libido Theory and Narcissism

As my libido farther withdraws from this sprawling text…resumes familiar form of self-attachment…as words get opaque…as concentration drifts…why does the step slacken…don't I ever want to finish (the distillation of x minutes staring at this sentence…"A large part…rather…is played past other phenomena…which are derived from efforts of…libido to accomplish objects one time more than and which thus stand for to an try at restitution or recovery" while considering whether I should admit how much I similar that phrase "dementia praecox"…so an ego psychology "not…based on…data of our self-perceptions just…equally in…case of the libido…on…analysis of disturbances and disruptions of the ego")…though then you reference your failed "paraphrenia" coinage over again…pivoting to more specific postulates on paranoia persecutoria…and my amoeba-esque protrusions project back outward…so I'm curious…could you lot (sorry) one time more than justify this way of argument by anecdote (then what if one particular woman patient who seemed paranoid in relation to male companion had concealed preceding female person attachments?)?

Transference

"Causal therapy" would take the form of chemic inducement ("Supposing…at present…that information technology was possible…to increment or diminish…quantity of libido nowadays at a given fourth dimension or to strengthen one instinct at…price of another…this then would be…causal therapy in the true sense of the word…for which our analysis would have carried out…indispensible preliminary work of reconnaissance") y'all state throughout your writings…then why oasis't we heard you (citing others instead)?

Analytic Therapy

Equally y'all emphasize quantitative…not qualitative…divergence between neurotic and normal behavior (the amount of energy required by a repressive machinery determining the dysfunctional)…as my mind shifts to numbers…I note 28 lectures…Fleissian?

cloudy now as friends finish packing

double socks deep into June (inside)

I've been waiting for a guide

andy-fitch photo ABOUT THE AUTHOR

Andy Fitch's most recent books are Sixty Morning Walks, Sixty Morning time Talks and (with Amaranth Borsuk) As Nosotros Know. Ugly Duckling soon will release his ebook Sixty Morn Walks. With Cristiana Baik, he is currently assembling the Letter Machine Book of Interviews. He has dialogic books forthcoming from 1913 Press and Nightboat Books. He edits Essay Press and teaches in the University of Wyoming's MFA program.