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This book is an expansion and extension of an earlier book by Reed (1994) on the current concepts of transference neurosis. Having a background in literary criticism, she draws on her expertise in that field as well, in defining and describing both the psychoanalytic process and the contributions that a psychoanalyst might make to the understanding of art and literature—hoping that these efforts will put a damper on “wild” applied psychoanalysis. She creatively blends the language of literary criticism with the language of psychoanalysis.
In her prologue, Reed presents a bold statement of the contemporary classical psychoanalytic point of view, which she unhesitatingly advocates. She points out some of the shibboleths and caricatures that have been too sadly earned by some psychoanalysts and which have been applied all too generally to other psychoanalysts for whom the classical point of view is primary in their work with patients in psychoanalysis. The fault lies in the psychoanalyst who misunderstands and misapplies the classical model, and not in the model itself. For her there are no shortcuts to understanding the meanings in the form and content of the associations to derivatives of unconscious fantasy/memory