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The Psychotherapist: Use and Abuse of Psychological Influence, is favourably endorsed by respected authors—authorities the likes of Donald P Spence and Stanley A Leavy on its back cover It is organized into 12 chapters. In the Preface, the author acknowledges Shmuel Hazanowich, Norman Doidge, Barry Simon, Diana Hartmann, and his editor and publisher, Judith Cohen and Jason Aronson respectively. His references are too extensive to fully cite here, but they include bastions of literature, philosophy, anthropology, psychiatry, and psychoanalysis. The Freudian corpus leans to Freud's early writings.
In an almost fictional style, more convoluted than Mary Shelley would have done with Frankenstein's monster, Warme fleshes out his main character as the book progresses The author sews and pastes together a woman whom he generically calls “psychotherapist,” the title character. In the fluid opening scenes, the book promises to be something unusual. But the star quickly diminishes to a mere resource to present a “point of view,” the author's “point of view,” the voice of a master Other characters in the book are given names, but the Psychotherapist remains a psychotherapist
Selective in his choices, Warme presents us with an amalgamation—a word currently in circulation—that permits us to recognize fragments of Friederich Nietzsche's body, or Thomas Mann's parts, among others. As we immerse ourselves in the dark of Professor Warmenstein's laboratory, this composite personage, “The Psychotherapist,” comes to life and, in turn, gives life to the author's voice, a voice that becomes stronger as the book progresses
“What is your problem with the book?” asked someone as she saw me throw away the book several times in my reading. “It is too noisy! In order to read, I need a bit of silence This is a book written in high volume,” I said. Even in pauses between chapters, I left the book feeling as if I had just left a discotheque: Long after the music had stopped, my ears were still rever