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In his wonderful opening of Secret Passages, Stefano Bolognini takes us into Freud's office. Bolognini is not alone: he has an art historian, Lynn Gamwell, at his side, and together they have a look at one of the most famous desks in the modern history of science and culture. Here Freud was sitting, surrounded by his antique objects—human, animal, and fable figurines, the carriers of Egyptian, Greek, and Chinese wisdom, mythology and Devin dignity. Musing on the human mind, Freud would look at them and they would look at him, and while he was writing the thousands of pages of his works and letters, they would patiently and attentively listen in silence.
As Gamwell leaves, Bolognini lingers on in Freud's study, perhaps even sits down on the famous couch in order to wonder: Where are we analysts in the twenty-first century, and how did we get here? Who are our internal and external objects today—who is looking at us, who do we speak and dialogue with? Like it or not, there is always Freud, but there are also Ferenczi, Klein, Winnicott, Bion, Lacan, and Kohut; and