Novels, short stories, plays, movies, often seem to have coincidental events that occur in them. Why? Is it because they reflect real life, which is often coincidental? Or is their occurrence actually more coincidental than real life, and the author (whether knowingly or not) uses these coincidences as a structural device or for some thematic purpose? What are these coincidences that we all seem to experience? Freud defines them as the uncanny, and while he acknowledges that many people experience them, he rationally explains them away in a manner that doesn't account for their frequent use and presence in narrative form.
Freud defines the "uncanny" in his essay by that name, by noting that its opposite has attained a similar meaning to it. The uncanny is both familiar and strange, comfortable and dangerous, intimate and obscure, known and inaccessible to knowledge. The uncanny is the repetition (hence, familiarity) of coincidental circumstances or events, with no apparent causal reason (hence, mysterious and hidden). Freud uses the example of the repetition of a certain number, say 62, that one might see several times in a day. "The recurrence of the same situations, things and events . . . awaken an uncanny feeling . . . it is only this factor of involuntary repetition which surrounds with an uncanny atmosphere what would otherwise be innocent enough, and forces upon us the idea of something fateful and unescapable where otherwise we should have spoken of 'chance' only."
The significance of a lack of a known reason or cause for these mysterious coincidences is that they then become open for us to ascribe them a cause, or a meaning. Even if we fail at giving them a particular meaning, we still assume that there is some meaning behind them that we have yet to come to grasp. "We do feel this to be 'uncanny' and unless a man is utterly hardened and proof against the lure of superstition he will be tempted to ascribe a secret meaning to this obstinate recurrence of a number, taking it, perhaps as an indication of the span of life allotted to him . . . Not long ago an ingenious scientist attempted to reduce coincidences of this kind to certain laws, and so deprive them of their uncanny effect."
The uncanny appeals to us since, in its lack of no known cause or reason for the juxtaposition of two uncanny events, it implies that there IS a cause or reason beyond our understanding. Hence, the mystery of this randomly ordered event suggests that the world is ordered, without our knowledge, and all is safe, stable, secure, and comfortable. No surprises. Ironically, it is the hiddenness and secretiveness of the cause of uncanniness that reassures us that the world is known and stable.
However, Freud, like the scientist he refers to, kindly removes the mystery for us. He postulates an unconscious instinctual repetition compulsion principle to explain the uncanny. "The quality of uncanniness can only come from the circumstance of the 'double' being a creation dating back to a very early mental stage . . . a regression to a time when the ego was not yet sharply differentiated from the external world and from other persons." He says "all obsessional neurotics I have observed are able to relate [uncanny] experiences" and "whatever reminds us of this inner repetition-compulsion is perceived as uncanny." Uncanniness is something repressed which recurs, simply "a morbid anxiety;" this uncanniness is "nothing new or foreign but something familiar and old, established in the mind that has been estranged only be the process of repression." Uncanniness is not something inherently meaningful, revealing some truth about the nature of the universe itself; it is only something that "ought to have been kept concealed, but which has nevertheless come to light." Uncanniness arises from the unconscious, then, and is a product and element of the unconscious emerging into the light of the conscious.
The following paper discusses the possible psychological consequences of a case of scarlet fever that I contracted in childhood at about age three. My pediatrician at the time linked the scarlet fever infection to my practice of drinking spoiled milk from a baby bottle. I wrote the paper on January 21, 2005 and posted it on my blog later that year.
The paper is a paraphrase of a paper titled Ibsen: Creativity, Criticism, and Self-State Transformation by Annette and Frank Lachman.
Uncannily, I was interviewed in January 2010 by law enforcement officers of the U.S. Department of Justice because of concerns they had about my use of the phrase “The Powers That Be” on this blog, My Daily Struggles, in the fall of 2009 -- a quote I had borrowed from a federal official who had used the phrase in the year 2009. I had earlier used that very phrase in the year 2005 in the following paper in a significant way. Moreover, I had provided a copy of this paper to my former treating psychiatrist, Abbas Jama, M.D. on -- I believe -- Thursday January 7, 2010. It was the following week, on Tuesday January 12, 2010 that Justice Department officers showed up at my home to interview me about my use of the phrase "The Powers That Be" (and other related issues). (The interview was actually held on Friday January 15, 2010).
Significant Moments: Self-States and Their Transformation
My use of the term self-state draws on contributions from several sources: Stern's and Sander's discussions of state transformation and the self-regulating other and Kohut's discussion of self-states as noted in self-state dreams.
When used by infant researchers, state refers specifically to variations in sleep and wakefulness that occur as the infant passes between crying and alert or quiet activity, drowsiness and sleep, wet discomfort and dry discomfort, hunger and satiation. Different states affect how things are perceived, how those perceptions are integrated, and how such information is processed.
State transformations in early life accrue to both the child's self-regulation and to the expectation that mutual regulation with the caretakers will facilitate or interfere in regulating one's affects and states. Thus, early state transformations are associated with mastery or control over one's own experience, and expectations that affect regulation can (or cannot) be shared with the self-regulating other.
With the advent of symbolic capacities and increasing elaboration upon one's subjective experience, self-states in the child and adult include the domain of the self in a psychological sense. Post infancy self-state transformations may increase a sense of control, mastery, or agency, but in the case of traumatic self-state transformations, such states as devastation, outrage, or fragmentation may become dominant.
The subjective discomfort of painful self-states provides an impetus for finding means by which such states can be transformed. A creative endeavor, one means of transforming one's self-state, enhances the range of the self-regulation. Furthermore, in the context of mutual regulations, expectations of a responsive environment shift the state of the self along the dimension of fragmentation-intactness toward greater cohesion and along the dimension of depletion-vitality toward an increased sense of efficacy.
Kohut described self-state dreams in which the imagery is undisguised or only minimally disguised, depicting the dreamer's sense of self. Kohut likened these dreams to Freud's discussion of dreams in traumatic neuroses, in which a traumatic event is realistically depicted. For example, a self-state may be depicted in a dream as a barren countryside, reflecting a sense of devastation and such self experiences as depression, despair, or hopelessness.
My use of self-state is broader than Stern's since I extend my perspective into adult life, and my use of the term is not confined to the dream imagery described by Kohut. Dream imagery provides a glimpse into a person's feelings of devastation and outrage, but the imagery of narratives can also convey self-states.
To construct the model scene that depicts the self-state that I attempted to recapture after I was subjected to devastating criticism in the form of job harassment and job termination, I combined facets of my life history.
For the first several years of my development, I experienced a childhood characterized by an overprotective but unempathic mother and a distant, but at times harsh, father. My father was a highly-intelligent man who settled for far less in life than he was capable. He had quit an academic high school restricted to college-bound students in the tenth grade, and worked at a factory job. Though he was raised in a strictly Orthodox Jewish family, he was the only one of seven children to marry outside the Jewish faith, in 1946. My mother was a Polish-Catholic whose father, an immigrant coal miner, died in the great swine flu epidemic following World War I. My father suffered both overt and covert anti-Semitism from my mother's family during the marriage -- itself a form of criticism. My father coped with the attacks directed at him by relying on a deeply-rooted sense of his cultural and religious superiority.
My mother doted on me, but paradoxically, had a tendency to negligent, even reckless, caretaking. At age three I developed scarlet fever, an unusual bacterial disease. I was late in being weaned from the bottle. Though I ate solid food by age three, of course, my mother indulged my desire to drink milk that had gone sour in the bottle. The pediatrician, Dr. Bloom, who diagnosed the illness attributed it to the sour milk. "And why is he still drinking from a bottle? He's too old to be drinking milk from a bottle," the doctor said. (Dr. Bloom! "Just who does Dr. Bloom think he is?"). My father was very angry, and chastised my mother bitterly for "spoiling" me, in the doctor's presence. I felt humiliated and helpless in the face of the charges leveled at me. My secret oral perversion had been discovered! The secret was out! The doctor advised my parents that scarlet fever was considered a serious public health concern, and that he was bound by law to report my illness to the city health department. Several days later, the health department posted a quarantine notice on the front door of our home (1957). My private act led to unforeseeable consequences in the form of intervention by a government authority. In effect, at age three the government had determined that I was already "potentially dangerous."
The scarlet fever incident contributed to the centrality of solitary self-experience for me. From an experience of pleasure (in drinking sour milk from the bottle), I was suddenly transformed to a state of loss and an inexplicable sense of guilt. I felt like a felon and, if you will excuse the hyperbole, "would hide when the constable approached the house." The illness ushered in transformation from a positive, pleasurable, self-absorbed state to a secret state marked by guilt and a personal blame for wrongdoing. I did not find solace for my loss. On my own, I bore both my guilt and the surprising, disturbing impact I could have on others in my immediate world and beyond: indeed, reaching out to a world beyond my imagination, in the form of governmental authorities. The illness also signaled another transformation in the direction of having to regulate painful states on my own without the support of others. Both parents were concerned with public embarrassment, rather than with the state of their child. I propose that the model scene I have constructed organized my experience as a solitary, impactful onlooker: someone whose private actions could even trigger the intervention of government authorities. It is an experience that few three-year-olds have. An emotionally porous three-year-old who is "hypersensitive to the goings-on in his environment," cf. Freedman v. D.C. Dept. of Human Rights, DCCA 96-CV-961 (Sept. 1998), will be affected by that experience.
This letter, and particularly the above anecdote, is a metaphorical bridge of speculation that connects mystery to mystery, the known with the unknown. That bridge is like a single plank that requires the support of others to form a firm foundation. I offer the following thought. My age upon contracting scarlet fever, which resulted from my mother's indulgence of my dependency needs -- age three or three-and-a-half -- is the same age my mother was when her father died of a communicable disease, influenza: in an influenza epidemic that, because of its magnitude, had evoked a vigorous public health response by government authorities nationwide. Is it possible that my "good" mother was instrumental in setting me up for serious illness? Was my mother's seeming indulgence really an expression of a strong unconscious ambivalence toward me that was a derivative of her emotional reaction to her own father's death?
Incidentally, the anecdote above parallels themes in several plays by Henrick Ibsen. In Ghosts a mother provides poison to her son to enable the son's suicide in expiation of his father's sins; An Enemy of the People pits a truth-fanatic (who discovers that the waters of a spa town are polluted) against the town's mayor and its citizens; and in The Master Builder a mother, out of a perverse sense of duty, kills her twins -- she contracted a fever because she could not stand the cold, but, despite the fever, she insisted on breast-feeding the twins, who died from her poisoned milk.
Note that I was the only male child in the family. Oddly, when I was a young boy, my older sister created the fiction that my middle name was "Stanley," my mother's father's name. I actually came to believe at one point in childhood that my name was "Gary Stanley Freedman."
Be that as it may.
My mother had a passionate interest in motion pictures and, in childhood, was fond of playing with dolls. I picked up on these interests in a way. In early adolescence I developed a fanatic attraction to the Wagner operas, and I had an interest in the craft of play writing. In high school and college I took elective courses in drama and theater. At age thirteen I staged (after a fashion), in the basement of our family home, a highly-abbreviated version (to say the least) of Wagner's four-opera Ring Cycle for the entertainment of my parents -- though, in reality, my parents were uninterested, if not hostile to my effort.
My father was subject to bouts of depression and sometimes became bitter and brutal toward my family, but he took no steps to change his situation, other than threatening, from time to time, to leave my mother. He was frequently morose and withdrawn. I reacted to my father throughout childhood with a range of irreconcilable emotions: idealization, sympathy, anger, and fear.
Taken as a unity, to be spelled out below, these accounts suggest that, for me, self-states and affects had to be regulated alone, by myself. In later life, I transformed my despondent state after my critical rebuff at Akin Gump by drawing on the themes encapsulated in the model scenes.
In psychoanalytic treatment, analyst and patient construct model scenes to convey, in graphic and metaphoric forms, significant events and repeated occurrences in the analysand's life. The information used to form model scenes can be drawn from a variety of sources, including a patient's narrative and recollections. Model scenes highlight and encapsulate experiences at any age, not only early childhood, and are representative of salient conscious and unconscious motivational themes. The concept of model scenes is broader than and includes screen memories, which Freud equated with the manifest dream content dream, in that they point toward something important that they disguise. The memory itself and its "indifferent" content are to be discarded as the analyst recovers and reconstructs the significant, concealed childhood event or fixation. Whereas screen memories focus on reconstructing what has happened, model scenes pay equal attention to what is happening, whether it is in the analytic transference or in the person's life. For me, the model scene is based on recollections that capture my solitary self-regulation, self-restoration, and my triumph over my detractors.
MY AUTOBIOGRAPHY: SIGNIFICANT MOMENTS
The book is unusual in structure. It is drawn exclusively from published literature -- it is a collection of quotations, really -- with the quotes woven together to form a cohesive narrative, comparable in a sense to the structure of T.S. Eliot's "The Wasteland." A single, cohesive narrator or hero does not appear in the book. Rather, the author manipulates the quotations; he hovers overhead, as it were, like a puppet master, pulling all the strings. I am represented, through my identification with various literary and historical figures, by identity elements or identity fragments, which are the quotations. The themes of the book are numerous and diverse. The themes include anti-Semitism, the craft of writing, opera production, communicable disease, genetics, inheritance, the discovery of a secret that brings ruin on the discoverer, scientific discovery, truth seekers, critical response by peers, defiance of peers and authorities, banishment and social isolation, the absence of an empathic or supportive environment, the self-regulation of affects, the death of fathers, the intervention of government authorities into the private domain of citizens, the seductive or destructive mother, alleged corruption and cover-up, among other topics.
CRITICISM AND RESPONSE
The negative response I received upon my job termination and its aftermath was diffuse. It came from the employer, psychiatrists (doctors), and government authorities. If I were asked why I began to write my autobiography in April 1993, four months after I had received the employer's responsive pleadings in a legal action I had initiated against the employer, I would have said: "I had to write my autobiography."
In Significant Moments, "the hero" (who appears in various guises, or is represented by various identity elements) makes a discovery that results in his being pitted against "the powers that be." The detractors of "the hero" are mocked and exposed as mean-spirited and unprincipled. I thereby expressed my distrust of the capacity of the "majority" to discriminate the "true" from the "false" and to exercise sound judgment. I showed "the powers that be"to be swayed by self-interest and incapable of distinguishing scientifically backed findings from self-serving rationalizations.
There is no decent, supportive public in Significant Moments. "The hero" naively values the support of "the powers that be" at the opening of the book. He believes that they will be responsive to truth and evidence. Before the book's end, "the hero" could rightly say that the most dangerous enemy of truth and freedom amongst us is the solid majority. "The majority is never right! . . . The minority is always right!" The minority to which "the hero" refers is himself. By the end of the book, he can trust nothing but his own values, perceptions, and beliefs.
Wounded by the shortsighted managers at Akin Gump, I asserted that the creative artist stands alone, a minority of one, to maintain his integrity and the purity of his vision. In Significant Moments I spoke with one uncompromising, solitary voice clearly depicted in "the hero," who loses all support and ends alone. "The strongest man in the world is the man who stands most alone." Increasing isolation drives "the hero" to proclaim, "I want to expose the evils that sooner or later must come to light."
To explore and to react aversively are dominant motivations for "the hero." He is uncompromising to the end, a man who does not mean to settle for rapprochement with the majority. He was ready to bring ruin upon himself and others rather than "flourish because of a lie."
In my response to the critics, I presented my hero as totally decent and honest, but naive with respect to political wheeling and dealing. His decency and goodness are contrasted with the narrow-mindedness of the majority. They are devoid of a sense of morality of their own and led by authorities who are rigid, unimaginative, self-serving, and bureaucratic -- banal at best and corrupt ("poisoned") at worst.
CREATIVE TRANSFORMATION: FROM JOB TERMINATION TO SIGNIFICANT MOMENTS
I had to write Significant Moments. The themes of that book, father-son tensions (real or symbolic), living a lie, the effects of learning "the truth," inheritance (in my case, the transmission of parental strengths and weaknesses), all manifestly rooted in my early life, are taken up in my book. In so doing, I addressed my compelling, burning, residual issue from my past and depicted it as a metaphor for my society as well. Significant Moments thus combines painful memories with a devastating social critique. Personally, I expressed my disillusionment at my father's legacy of academic, occupational, and marital failure, as well as my quest for an idealizable father of whom I could be proud.
Apparently I felt compelled to bare myself in a barely disguised form. I gathered together my past grievances and projected them on to "The Freud Archives Board." In them I embodied the lies, hypocrisy, deception, and duplicity that I hated in society. So long as they typified "the powers that be" and its "opinions," there could be no compromise. My uncompromising depiction of the "sins of the father," the "ghosts" that demand placing duty and public appearances above self-expression and individual freedom, expresses my long-held convictions in the purest, boldest form.
At the center of Significant Moments lies my determination to explore two sides of deception. Some self-deception is held necessary to maintain hope and to survive, yet there is also a pernicious self-deception that erodes ethics and undermines morality. Both Nietzsche and Jeffrey Masson were compelled to counter, respectively, Wagner's and The Freud Archives' deceptions of themselves and others. "The Heroes'" (Nietzsche's and Masson's) duty-bound rejection was felt by "the powers that be" (Wagner and Dr. Eissler) as both a rejection of their ideals and a personal betrayal.
I was shocked by my sudden job termination in late October 1991; but later (in April 1993), within four months of receiving the employer's responsive pleadings in the agency complaint I filed, I began work on Significant Moments. With my self-confidence shattered, if there was a moment when the capacity to transform shattered narcissism into artistic creativity was called for, this was it. The book became my response to the devastating experience of my termination and its aftermath. Note that it was only upon my receipt in late December 1992 of the employer's pleadings that I learned that the employer had allegedly determined that I was potentially violent -- that is, a physical danger to others: an allegation that must have resonated with my memory that at age three I had been determined by a municipal authority to pose a public health risk.
In Significant Moments moral integrity on one side is pitted against deception, greed, and narrow self-interests on the other. The battle lines are drawn clearly. Perhaps in outrage, all gloves are off. I myself step upon the stage and drag my enemy, conventional wisdom, front and center with me.
The hero pays the price for his naive belief in truth; he is socially totally isolated, but he remains undaunted. Throughout the book, he remains loyal to the idea that truth will win the day. He utters the line (through playwright Arthur Miller) that embodies "the hero's" defiance of the "majority" and defines the state in which he feels himself to be: independent, invulnerable, and exquisitely self-contained. "The strongest man in the world is the man who stands most alone!"
To me, the artist's strength lays in an undaunted capacity to maintain a vision in the face of opposition and to "cleanse and decontaminate the whole community." I must disturb, be perpetually misunderstood, and walk alone. Yet I would call Significant Moments an expression of the "comedy of life" in that it expresses my recognition that the creative artist cannot totally stand alone. Ultimately, he needs an audience to respond to him.
CREATIVITY IN SELF-STATE TRANSFORMATION
The artist accepts isolation as a consequence of his superior, unique vision of the world. He depicts his ideal, to follow the dictates of his artistic integrity, irrespective of the consequences. Compromise means accommodating to societal pressures, hypocrisy, and deception.
In Significant Moments the tyranny of conventional wisdom, the legacy of father to son, and the strength inherent in one's solitary loyalty to the "ideal" of truth appear on an unadorned stage.
It is always risky, when discussing an artist, to draw inferences about his life from his creative output. Nonetheless, parallels do exist between the artist's life and his creative work.
Traumatic, painful, or humiliating life experiences sometimes provide the context for an artist's work. To some extent, the creative product is the transformation by the artist of the effects of his painful past and narcissistically injurious experiences. Here, transformation refers to self-regulated alterations, the capacity to alter one's self-state, when, for example, it is characterized by guilt or shame, stirred by feelings of defeat and, when exposed to contempt, derision, or ridicule. To turn painful self-states into a sense of triumph requires transforming narcissistic injuries, often though not invariably, via narcissistic rage, into a sense of having righted a wrong, avenged a slur, or seized self-"intactness" from the jaws of injury.
Significant Moments is a self-revelation. As the book proceeds headlong toward its tragic denouement, the passages that describe the weather and the lighting are psychologically revealing. Thus, the portion of the writing that describes the high point of the Wagner-Nietzsche relationship refers to the brilliance of the sun. While the last meeting of Wagner and Nietzsche takes place on a cold, drizzly evening -- the night of a dinner party. Artists, including myself, often depict self-states of the characters through, for example, reference to weather. Changes in the weather foreshadow, just as a dream of a barren countryside may reveal and foreshadow, the state of the self.
The book also contains numerous biblical allusions and quotations. In adult years I have stood alone against my critics, who have usually been stronger and more numerous than my defenders. The source of my strength -- my ability to stand alone, undaunted -- I believe, is ultimately a positive inheritance from my father: namely, my father's ego-strengthening identification with the historical struggle of the Jewish people for survival. My ambivalence toward my father now becomes more understandable. My "inheritance" did not only include my father's failings, but contained a substantial quantum of support from him as well. My solitary faith in myself and my eventual triumph, coupled with my memory of my father's loyalty to the best in the Jewish tradition, may have provided the strength that has enabled me to stand alone and continue my struggle without the aid or presence of another.
After my disappointing job termination in 1991, my self-state could be characterized as enraged by new disappointments, as well as the revival of the old hurts and disillusionments. I sought refuge through the transformation of my painful state to one that may also have been an enduring legacy of my childhood, a state devoid of impingements from others and free of the disappointment I felt in my father. I sought a sense of supremacy, alone and at peace. Akin to a puppeteer, I longed to be above the critics and the mundane world, without concern for social status, economics, or prestige.