{"id":154883,"date":"2021-09-28T15:30:58","date_gmt":"2021-09-28T19:30:58","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=154883"},"modified":"2021-10-12T13:02:27","modified_gmt":"2021-10-12T17:02:27","slug":"redux-collapse-distinctions","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/28\/redux-collapse-distinctions\/","title":{"rendered":"Redux: Collapse Distinctions"},"content":{"rendered":"

Every week, the editors of\u00a0<\/em>The Paris Review\u00a0lift the paywall on a selection of interviews, stories, poems, and more from the magazine\u2019s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by\u00a0signing up for the Redux newsletter<\/a>.<\/em><\/p>\n

\"\"<\/a>

In His Analysands\u2019 Chair, 2000.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re thinking about psychoanalysis and the interpretation of dreams. Read on for Adam Phillips\u2019s Art of Nonfiction interview<\/a>, an excerpt from Sigrid Nunez\u2019s novel The Friend<\/a><\/em>, Joanna Scott\u2019s short story \u201cA Borderline Case<\/a>,\u201d and Mark Scott\u2019s poem \u201cFreudian Tenderness<\/a>,\u201d as well as selections from a 1984 portfolio of Louise Bourgeois drawings<\/a>.<\/p>\n

Interview<\/em>
\nAdam Phillips, The Art of Nonfiction No. 7<\/a>
\nIssue no. 208 (Spring 2014)<\/em><\/p>\n

\n

Psychoanalytic sessions are not like novels, they\u2019re not like epic poems, they\u2019re not like lyric poems, they\u2019re not like plays\u2014though they\u2019re rather like bits of dialogue from plays. But they do seem to me to be like essays, nineteenth-century essays. There is the same opportunity to digress, to change the subject, to be incoherent, to come to conclusions that are then overcome and surpassed, and so on.<\/p>\n<\/blockquote>\n

<\/p>\n

\"\"<\/a>

Detail from a Louise Bourgeois drawing, ca. 1950s<\/p><\/div>\n

Fiction<\/em>
\nThe Blind<\/a>
\nBy Sigrid Nunez
\nIssue no. 222 (Fall 2017)<\/em><\/p>\n

\n

The doctors who examined the women\u2014about a hundred and fifty in all\u2014found that their eyes were normal. Further tests showed that their brains were normal as well. If the women were telling the truth\u2014and there were some who doubted this, who thought they might be malingering\u2014the only explanation was psychosomatic blindness. In other words, these women\u2019s minds, forced to take in so much horror and unable to take more, had managed to turn out the lights.<\/p>\n

This was the last thing you and I talked about while you were still alive.<\/p><\/blockquote>\n

\"\"<\/a>

Detail from a Louise Bourgeois drawing, ca. 1950s<\/p><\/div>\n

Fiction<\/em>
\nA Borderline Case<\/a>
\nBy Joanna Scott
\nIssue no. 123 (Summer 1992)<\/em><\/p>\n

This is the story of K and B, analyst and patient; specifically, this is the story of their first session together, before K had cured his patient, \u201cdispersed\u201d B, as he\u2019d say, helping him to become \u201cmore B than ever before.\u201d<\/p><\/blockquote>\n

\"\"<\/a>

Detail from a Louise Bourgeois drawing, ca. 1950s<\/p><\/div>\n

Poetry<\/em>
\nFreudian Tendencies<\/a>
\nBy Mark Scott
\nIssue no. 155 (Summer 2000)<\/em><\/p>\n

Freud liked to collapse distinctions:
\nmasochism is the continuation
\nof sadism (“nothing but”), in which
\none’s own person takes the place<\/p>\n

of the sexual object; so looking
\nis analogous to touching; is based
\non touching, is base in so far forth;
\nbut neither the lingering at the touching<\/p>\n

nor the lingering at the looking
\nsatisfies the libido, the lust . . .<\/p><\/blockquote>\n

\"\"<\/a>

Detail from a Louise Bourgeois drawing, ca. 1950s<\/p><\/div>\n

Art<\/em>
\nDrawings from the 1950s<\/a>
\nBy Louise Bourgeois
\nIssue no. 92 (Summer 1984)<\/em><\/p>\n

 <\/p>\n

If you enjoyed the above, don\u2019t forget to\u00a0subscribe<\/a>! In addition to four print issues per year, you\u2019ll also receive complete digital access to our sixty-eight years\u2019 worth of archives.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019re lifting out of the archive work by Sigrid Nunez, Joanna Scott, and Mark Scott, as well as an interview with Adam Phillips and art by Louise Bourgeois. <\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[31006],"tags":[],"class_list":["post-154883","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Collapse Distinctions by The Paris Review<\/title>\n<meta name=\"description\" content=\"September 28, 2021 \u2013 This week, we\u2019re lifting out of the archive work by Sigrid Nunez, Joanna Scott, and Mark Scott, as well as an interview with Adam Phillips and art by Louise Bourgeois.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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