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In this issue we present the ninth essay in an extraordinary series reviewing The Collected Works of D. W. Winnicott, brought to us by guest editors Phillip Blumberg and Adrienne Harris. Volume 9 covers the final years of Winnicott's life . In a piece that, like Winnicott's writing, moves the reader with its creativity, Ken Corbett shows us Winnicott's enduring commitment to human growth, even through the process of his own dying. Corbett cites this written prayer of Winnicott's: “Oh God! May I be alive when I die.” Drawing on Winnicott's writing from the period of his “growing into dying,” Corbett suggests that for Winnicott the moon served “as a transitional object to give shape to that paradox.” Hence the evocative title of Corbett's essay: “The Moon of the Magic Casement: Transitional Phenomena, the Moon, and D. W. Winnicott's Death.”
In this essay, psychoanalyst and photographer Mark Gerald sets out to explore the “relational image” by juxtaposing the lives of Melanie Klein and Diane Arbus. As Gerald defines it, the relational image refers to a “new visual/emotional event created when two mutually vulnerable partners come to see one another in an entirely fresh way.” Through Roger Amos's Portrait of a Life: Melanie Klein and the Artists, Gerald explores the notion of portraiture as a relational creation, emphasizing that “the artist must be able to see the subject from the subject's perspective” and, thus, that the portrait that emerges is the result of a brief collaborative encounter between artist and subject. Turning to the life of the photographer Diane Arbus as depicted by Arthur Lubow in Diane Arbus: Portrait of a Photographer, Gerald reflects on the work of Arbus, who—like Klein—was a pioneering and profoundly influential figure in her field. Arbus's work, Gerald writes, “was damned for its voyeurism and praised