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The
post-Kleinian model of the mind, as developed by
Wilfred Bion and Donald Meltzer, is essentially an
aesthetic one. It is founded on Melanie
Klein’s discovery of the `internal object’ with its combined masculine and
feminine qualities and ambiguous, awe-inspiring nature. Turbulent emotional experiences are
repeatedly transformed through symbol-formation, on the basis of the internal
relationship between the infant self and its object; and the aesthetic
containment provided by this `counter-transference dream’ (as Meltzer terms it)
enables the mind to digest its conflicts and develop.
This search for a pattern that can make `contrary’ emotions thinkable is modelled by all art forms
and accounts for their universal significance.
It is a process that can be observed particularly clearly, in
literature, in the form of the romance between the poet and his Muse (the
traditional formulation of the psychoanalytic internal object).
This book explores the
`counter-transference dreams’ of some of the inspired symbol-makers who have
been most influential in forming the modern aesthetic perspective in
psychoanalytic thinking: including Shakespeare, Milton, Keats, Homer and
Sophocles. It concludes with a
discussion of the autobiographical works which are the final expression of Bion’s own conception of the aesthetic model.
`Homer
and Milton were not writing “poetry”; they were writing “seriously”. They wrote poetry because it was the most
serious way of writing.’
Wilfred
Bion
`The Vale of Soulmaking
promises to become the text for post-Kleinian
thought… and the upshot of it all is to establish Mrs Klein as the first “post-Kleinian”.’
Donald
Meltzer
Preface – by Donald Meltzer
Introduction
APPENDICES on the autobiographies of Wilfred Bion
(i) Rosemary’s Roots: Bion and his Muse
(ii)
Confessions of an Emmature Superego