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Ruth Morris attempts to prove in this paper that engaging in creative writing can replace an analysis. She believes that there is 'a class of creative subjective writers. To the extent that this type of author works from an emotional need, and not for the market, he is "analyzing" himself. If he continues on his course, and does not permit himself to be side-tracked, he will, in no very great time (once he gets started) heal himself.' Freud, according to Ruth Morris, was not a creative writer and therefore could not free himself from a compulsion neurosis (?) either by writing or by self-analysis. 'The two processes, psychoanalysis and self-analysis in an art form, differ in that the former consists mainly of intellectualization and "digestion" of the traumas—that is, analysis—and the latter is chiefly expression—one does what one needs to do—although there is plenty of analysis in the latter form as well. But in all other respects the two methods are alike… Telling about one's own life in psychoanalysis, and about the lives of imaginary characters in a subjective novel, are interchangeable—the novelist leaves fiction for autobiography, and the analytical patient wanders off into fancy. Before he is cured of his neurosis the cathartic writer must carry himself through all his traumas, and see clearly—and this bespeaks in him an objective, critical, analytical faculty—the complete picture of himself as a personality on the defensive against the whole world, precisely as the patient of analysis, in order to be healed, must do with the aid of the analyst.' She tries to prove her theory of self-healing through creative writing by pointing to Herman Melville and his Pierre and Moby Dick; Nathaniel Hawthorne and his Twice Told Tales and The Scarlet Letter; Charlotte Bronté, another 'self-analyzee', and her Villette; and Franz Kafka and The Castle and The Trial. She tries to show that all these writers were cured through the creation of their works. The author's