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This Art of Psychoanalysis: Dreaming Undreamt Dreams and Interrupted Cries is relevant to Jungian thought and practice in a very particular way. It in no way references Jung or the common ground from which it springs or furthers, save a glancing reference to Cambray's (2002) and Tresan's work on emergence. For a thoughtfully elucidated view of similarities between Jungian thought and Ogden's earlier work, see J. Kirsch's review (2005) in which she rues Ogden's failure to ‘recognize one another as potential partners’ and opines: ‘Jungians should expect no professional coniunctio in the near future’ (p. 210).
Ogden's work does indeed express and resonate, in a profound and pervasive way, to many of the major ideas of Jungian theory. The similarities lie in the treatment of psychic patternings and provisions rather than in specific language or concepts. In reflecting on Ogden's work, I found myself increasingly curious about differences rather than similarities. Two questions in particular arose: the first has to do with the question of the source of reverie; the second, with the question of the relationship between the materia of the analyst's reverie and the patterns of the analysand. Jungian theory supports a sense of correspondent images, sensibilities, and dynamics as potentially purposively generated by the non-ego psyche.
The source level, (i.e., the objective psyche, archetypal provisions) makes itself, the inner ‘other’, accessible to consciousness. Among Jung's many references to this source is this dramatic line from the Kena Upanishad: ‘By whom willed and directed does the mind fly forth?’ (1959, para. 348). One of the ways the source manifests in the clinical field is through what Jung speaks of as ‘einfaelle’. It is that which ‘falls in’ from the other, the source, the ‘divine’. Jung speaks specifically of the ‘witzige Einfall’ (1954, p. 90, n. 9). Harking back to early eighteenth century usage, this refers to the connections which flash into and link with