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This fascinating book brings together a selection of writings and visual images from Emma Jung's recently discovered notebooks, art portfolios and personal papers in the Jung Family Archive, together with four papers held by the Zürich Psychology Club. The new material expands our understanding of her position within the development of analytical psychology during the first half of the 20th century, a welcome corrective to previous works which mainly focused on her domestic role as housewife and mother. The most important primary source is a marbled notebook where she decided to copy her most significant writings, fantasies, commentaries and a painting , a psychological corpus similar in concept to those kept by other members of the Zürich analytic circle, encouraged by C. G. Jung's endeavours in his Black Books (1913–1932) (see Jung, 2020) and The Red Book (: see Jung, 2009; Shamdasani, 2009, 33–39).
Three introductory essays focus on Emma Jung's life and professional work. Susanne Eggenberger-Jung's biographical portrait contains new information about her childhood, youth and marriage to Carl Jung in 1903. Thomas Fischer and Medea Hoch trace her subsequent involvement with psychological, psychoanalytical and analytical psychology movements and the progress of her work on the Grail legend and eponymous book, finished by Marie-Louise von Franz after her death in 1955 (Jung & von Franz, 1970/1976), supplemented by abstracts of Grail talks she gave in 1940 and 1944. Ann Conrad Lammers compares Emma Jung's writings with Jung's developing concepts and methods and highlights the major themes in her creative work: the exploration of nature; development of the soul, animus and individuation; and her commitment to the feminine psychological principles relevant for modern women. The frequent exchange of ideas with Jung is evident, but she held own viewpoint, remaining firmly grounded in life. As she wrote in 1918: “The task is by no means complete with the most beautiful and