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Something poetic happened in assembling this issue of Psychoanalytic Dialogues 31:5. As Joint Editors, we meet regularly to go over our pipeline of accepted papers. We try to curate each issue so that there is a thematic resonance among the papers and a flow across topics. In the mix, we typically find some sort of reverberation: a loose coherence, if you will, that gives each issue a particular identity in our minds.
Among ourselves, we call this “the creativity issue.” We are not grouping these papers as a panel. Nor do we mean to suggest that these papers address “creativity” per se. Initially, we called it “the arts issue” combining papers that involve poetry, tango and immersion in the creative process. But as we dove deeper into the papers and discussions scattered on our desks, we found ourselves deeply engaged in conversations about creativity and the editorial process. If we want our pages to demonstrate psychoanalysis at its most creative, how ought we balance the enterprise of peer review with the curation of issues? When assigning reviewers and choosing discussants, what is the optimal mix of authority and innovation? How to feature tradition, diversity and edge in the most dialogic way possible? It’s work in progress, no doubt. But this we know for sure. We are indebted to the authors and discussants in this issue, call it kismet or maybe something in the zeitgeist, for leading us to rank creativity high among the priorities for how we imagine the future of psychoanalysis.
Kathleen Del Mar Miller wraps the story of a treatment in a fabric of theory, prose, image and poetry. She details the “radical openness” of body and mind that ensues in her dialogue with a gender nonbinary person before and after Miller suffers a brain injury during a car accident. In so doing, as Ann Pellegrini and Julie Leavitt appreciate in their discussions, Miller queers the case study leaving us to ponder the whiteness of the blank page.
Stacey Novack delves into the creative proc