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• So, I have to write. One of us all has to write, if this is going to get told. (Julio Cortázar, Blow Up, p. 115)

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• “If I am asked what psychoanalysis is for,

beyond transforming symptoms, I always say ‘in order not to lie to oneself anymore’ “, Marie Langer said. (Nancy Caro Hollander, 2014, kindle location 4411/11124)

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p. p.

• http://www.masters-of- photography.com/K/koudelka/koudel ka_articles2.html
• Josef Koudelka: Exiles, by Czeslaw Milosz (Author), Josef Koudelka (Photographer), Robert Delpire (Contributor), Aperture, 3 ed, 2014

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Josef Koudelka (b 1938) a Czech Photographer

• Josef Koudelka photographed

in Collesano, Sicily (easter 1987)

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• To demonstrate the emptiness of the streets at noon, Koudelka stuck his wristwatch into the scene before shooting it. A simple, brilliant gesture that adds not only a temporal dimension to the photo but also a sense of solitary humanity in contrast to the empty streets.

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http://kottke.org/06/11/josef-koudelka-prague-1968

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• It was taken by Koudelka in Prague in 1968, just before the Soviet Union invaded and put a stop to The Prague Spring.

P. P.

• He had returned from a project photographing gypsies in Romania just two days before the Soviet invasion, in August 1968.
• He witnessed and recorded the military forces of the Warsaw Pact as they invaded Prague and crushed the Czech reforms.
• Koudelka's negatives were smuggled out of Prague into the hands of

the Magnum agency, and published anonymously in The Sunday Times Magazine under the initials P. P. (Prague Photographer) for fear of reprisal to him and his family.

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http://www.johnpaulcaponigro.com/blog/14546/15-quotes-by-photographer-josef-koudelka/

• “I don’t pretend to be an intellectual or a philosopher. I just look.”

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• “If I am dissatisfied, it’s simply because good photos are few and far between. A good photo is a miracle.”

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• “I am not interested in repetition. I don’t want to reach the point from where I wouldn’t know how to go further. It’s good to set limits for oneself, but there comes a moment when we must destroy what we have constructed.”

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• “I never stay in one country more than three months. Why? Because I was interested in seeing, and if I stay longer I become blind.”

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• “I photograph only something that has to do with me, and I never did anything that I did not want to do. I do not do editorial and I never do advertising. No, my freedom is something I do not give away easily.”

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• “I don’t like captions. I prefer people to look at my pictures and invent their own stories.”

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• “My photographs are proof of what happened. When I go to Russia, sometimes I meet ex-soldiers… They say, ‘We came to liberate you….’ I say: ‘Listen, I think it was quite different. I saw people being killed.’ They say: No. We never… no shooting. No. No.’ So I can show them my Prague 1968 photographs and say, ‘Listen, these

are my pictures. I was there.’ And they have to believe me.”

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• “The changes taking place in this part of Europe are enormous and very rapid. One world is disappearing. I am trying to photograph what’s left. I have always been drawn to what is ending, what will soon no longer exist.”

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• “When I first started to take photographs in Czechoslovakia, I met this old gentleman, this old photographer, who told me a few practical things. One of the things he said was, “Josef, a photographer works on the subject, but the subject works on the photographer.”

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• “I would like to see everything, look at everything, I want to be the view itself.”

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• “It never seemed important to me that my photos be

published. It’s important that I take them. There were periods where I didn’t have money, and I would imagine that someone would come to me and say: ‘Here is money, you can go do your photography, but you must not show it.’ I would have accepted right away. On the other hand, if someone had come to me saying: ‘Here is money to do your photography, but after your death it must be destroyed,’ I would have refused.”

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• “I have to shoot three cassettes of film a day, even when not ‘photographing’, in order to keep the eye in practice.”

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• “When I photograph, I do not think much. If you looked at my contacts you would ask yourself: “What is this guy doing?” But I keep working with my contacts and with my prints, I look at them all the time. I believe that the result of this work stays in me and at the moment of photographing it comes out, without my thinking of it.”

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• “What matters most to me is to take photographs; to continue taking them and not to repeat myself. To go further, to go as far as I can.”

• “Sometimes I photograph without looking through the viewfinder. I have mastered that well enough, it is almost as if I were looking through it.”

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• “There’s nothing like languages to save your life, open your mind, speed you away from persecution.” (Alicia Borinsky)

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• One-Way Tickets: Writers and the Culture of Exile, by Alicia Borinsky, Trinity University Press, 2011 (scribd)

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• In One-Way Tickets, Borinsky offers up a splendid tour across 20th-century literatures, providing a literary travelogue to writers and artists in exile.

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• She describes their challenges in adjusting to new homelands, issues of identity and language, and the brilliant works produced under the discomforts and stresses of belonging nowhere.

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• Speaking with the authority of first-hand experience, Borinsky relates the story of her own family—Eastern European Jews, with one-way tickets to Buenos Aires, refugees from the countries that “spat them out and massacred those who stayed on.”

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• Borinksy herself becomes an exile, fleeing Argentina after the take-over of a bloody military dictatorship. She understood, then, her grandfather’s lessons: “There’s nothing like languages to save your life, open your mind, speed you away from persecution.” As a writer of poetry, fiction, and essays, the author also knows intimately the struggles of writing from between worlds, between languages.

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• In these pages, we encounter Russian Vladimir Nabokov, writing in English in the United States; Argentine writer Julio Cortázar in Paris; Polish writer, Witold Gombrowicz in Buenos Aires; Alejandra Pizarnik, Argentine writer for whom exile is a state of mind; Jorge Luis Borges, labyrinthine traveler in time and space; Isaac Bashevis Singer, a Jewish writer in New York driven from Poland by the Nazis; Latino writers Oscar Hijuelos, Cristina Garcia, and Junot Diaz; and Clarice Lispector, transplanted from Ukraine, to Brazil, to Europe, and the United States.

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• Not surprisingly, these charismatic and artistic people, as well as many others in Borinsky’s nearly encyclopedic associations, inhabit equally intriguing circles. She introduces us to a wide range of friends and lovers, mentors and detractors, compatriots and hosts. We come away with a terrific breadth of knowledge of 20th-century literature and culture in exile—its uneasy obsessions, its difficult peace, its hard-won success. (amazon)

• Julio Cortázar (1914-1984) ,

an Argentine novelist, short story writer, and essayist.

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• Bolaño moved to Europe in 1977, and finally made his way to Spain, where he married and settled on the Mediterranean coast near Barcelona, on the Costa Brava, working as a dishwasher, campground custodian, bellhop, and garbage collector. He worked by day and wrote at night. From 1981 to his death, he lived in the small Catalan beach town of Blanes.
• Roberto Bolaño (1953-2003), a Chilean novelist, short-story

writer, poet and essayist.

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Literature and Exile

• Books are the only homeland of the true writer, books that may sit on shelves or in the memory.

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• The politician can and should feel nostalgia.

It’s hard for a politician to thrive abroad. The

working man neither can nor should: his hands are his homeland.

• Roberto Bolaño delivered this speech in 2000 at a symposium organized by the Austrian Society for Literature in Vienna. http://www.thenation.com/article/literature-and- exile/http://www.thenation.com/article/literature-and-exile/

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• 文學 = 流亡文學 ?

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• Does psychoanalysis belong to the exile

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literature?

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• Is self psychology exile literature?

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獨立中文筆會

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lndepen dent Chinse PEN Center

• 廖亦武（b 1958），筆名老威，出生於 四川鹽亭，詩人、流亡作家、底層歷史 記錄者。

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• Tiananmen Exiles: Voices of the Struggle for Democracy in China, by Rowena Xiaoqing He, Palgrave Macmillan, 2014 (FJU)

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是A

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• León Grinberg was an analysand of Marie Langer’s. He and his wife left Argentina in the late 1970s and have lived in Spain ever since. He died in 2007.
• Psychoanalytic Perspectives on Migration and Exile, by León Grinberg, Rebeca Grinberg, Yale University Press, 1984

(bookfinder, 1050403)

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• section 9 of division 39 (APA)
• LA-based uprooted mind

committee

• http://www.psysr.org/
• Uprooted Minds: Surviving the Politics of Terror in the Americas, by Nancy Caro Hollander, Routledge, 2010 (kindle)

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• Southern Cone is a geographic region composed of the southernmost areas of South America, south of and around the Tropic of Capricorn.
• Traditionally, it covers Argentina,

Chile and Uruguay.

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• Uprooted Minds is a tour de force, a book that represents the best in the growing genre of work on the intersection between psychoanalysis and society. (Frank Summers, book

review)

Psychoanalysis, Latin American States of Terror, and American Neoliberalism

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• Like the best of literary works, Uprooted

Minds is written on two levels.

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• The theme of the work is the transition in and out of states of terror in the Southern Cone, i.e., Argentina, Uruguay, and Chile, in the 1970’s and 80’s and the relevance of this sordid period of South American history for the contemporary United States.

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Book review, by Frank Summers

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• At a deeper level the book is about the intersection of psychoanalysis and societal structures and practice and in that area presents a compelling case for a socially active psychoanalysis.

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• How does one maintain “neutrality” when the patient is reporting terror of a police state that is all too real?

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• How does the analyst manage the countertransference when the analyst’s fears mirror the patient’s paranoid dreads?

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• The possibility of neutrality became the critical issue in the short-lived split in the Argentine Psychoanalytic Association between the “old guard” who maintained that analysts must remain neutral and the younger analysts, such as the interviewee Juan Carlos Volnovich, who maintained that under dictatorial conditions neutrality is neither possible nor desirable.

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• This difference is a source of heated debate within psychoanalysis to this day.

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• The most agonizing decision for each protagonist was whether to suffer the guilt and feeling of cowardice of fleeing or the terror of staying under a dictatorship that was incarcerating, torturing, and killing anyone remotely suspected of dissenting from the government line.

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• Inevitably, the interviewees suffered the guilt of leaving behind others who had to continue life under the repression of dictatorial regime.

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• When they were able to return to their countries, all felt that they, their friends, and country had changed so much after years of terror and repressive rule that they were not coming home, but departing once again.

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• These uprooted minds remained uprooted even after their return from exile because they had changed and so had the country and the people who survived.

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• First, and perhaps most importantly, the impact of the terror state and its supporting ideology on analytic patients indicates that the analyst cannot understand the subjectivity of her patient without grasping the extent to which the dominant ideology is internalized in the patient’s experience.

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• Second, Hollander, through the voices of her subjects, makes a case for the analyst’s involvement in activities beyond the couch to promote social justice.

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• The bystander mentality, she argues, is a form of denial and disavowal. Any citizen who fails to oppose dictatorial policies is collaborating with the dictatorship by defending against awareness of it.

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• Furthermore, social justice movements can benefit

from analytic input.

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• One shining example of analysis beyond the couch is the worker takeover of the Grissinopoli factory in Argentina. Two analysts, Silvia Yankelevich and Cesar Hazaki, were instrumental in helping the workers deal with their timidity in opposing authority and uncertainty about whether they were, in fact, capable of controlling their working lives.

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• Third, Hollander argues that analytic ideas have much to offer the understanding of societal ills.

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• All her interviewees emphasized that a movement based solely on political considerations risks ignoring the subjective experience of the individual citizens.

This is the message of this book

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• There is no neutrality, the psyche and the social are two sides of a coin.

• Love In A Time Of Hate, by Nancy Caro Hollander, Rutgers University Press, 1997

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• Nancy Caro Hollander profiles ten Argentine, Chilean, and Uruguayan psychologists and psychoanalysts who experienced firsthand, and later strove to comprehend, the political and social oppression that occurred under the military dictatorships in their countries during the 1970s and 1980s.

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• She recounts how psychoanalysts employed what she calls "liberation psychology" to understand the brutal trauma suffered by the populace under fiercely repressive regimes and then to help themselves and others to confront and overcome a culture of intimidation, coercion, torture, and, frequently, murder. (amazon)

• Psychoanalysis, Class and Politics: Encounters in the Clinical Setting, ed. by Nancy Caro Hollander, Lynne Layton, Susan Gutwill, Routledge, 2006

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• The contributions included in this volume describe how issues of class and politics, and the intense emotions they engender, emerge in the clinical setting and how psychotherapists can respectfully address them rather than deny their significance.

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• They demonstrate how clinicians need to take into account the complex convergences between psychic and social reality in the clinical setting in order to help their patients understand the anxiety, fear, insecurity and anger caused by the complex relations of class and power.

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• This examination of the psychodynamics of terror and aggression and the unconscious defences employed to deny reality offers powerful insights into the microscopic unconscious ways that ideology is enacted and lived. (amazon)

Exile: Paradoxes of Loss and Creativity

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• This Central American diaspora of the 1980s was but the most recent chapter of a story begun several decades earlier, when multitudes of refugees fled repressive military regimes throughout South America.

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• One of the most brutal of these dictatorships took power in Argentina in 1976, launching a seven-year- long Dirty War against its own citizens.

Hollander, N.C. (1998). Brit. J. Psychother, 15:201-215

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• These Latin American psychoanalysts believed that psychoanalytic theory could not adequately explain the global significance of the social trauma experienced by the victims of state terror and forced exile, and thus they were obliged to choose a prospective approach and to study the responses of their patients and their own as well, even as they attempted to develop adequate therapeutic interventions (Hollander 1997a).

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• These Latin American psychoanalysts argued that other disciplines, such as radical political theory, political economy, and sociology, needed to be integrated with psychoanalytic theory in order to explain the human behavior manifested in inequitable economic structures, political violence, and psychosocial trauma.

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• Marie Langer (1910-1987) (Mexico 1974-

1987)

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• Marcelo Vinar / Maren Ulriksen de Vinar

(France 1976-1990)

Mimi Langer

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• And I'll never forget the evening when, during a meeting of a Freud study group, one of the female participants answered the phone, listened quietly to the voice on the other end, gasped, and began to scream, ‘No, no… my God, they've killed my brother’.

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• I remember my worst moment in exile.

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• It was the night I went to a solidarity meeting of the Chileans to hear President Salvador Allende's sister, Laura, speak. She told about how she had been taken prisoner because she hadn't left Chile after the coup. Since she was from such a prominent family, she wasn't tortured, but one night they threw her, naked and blindfolded, on a pile of tortured bodies for the night. When she was released, she continued her activism in the opposition struggle.

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• I went home that evening and collapsed on my bed in tears. I felt a terrible desperation because, unlike Laura, I had abandoned my commitments. I had not continued to struggle, and in Argentina people were suffering and dying.

• Psychoanalysis in the Age of Totalitarianism, ed. by Matt Ffytche, Daniel Pick, Routledge, Reprint edition, June 4, 2016

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The Viennese Chicagoan

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• In retrospect one wonders about the wellspring of Kohut's originality and its final focus on narcissism.

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• I would speculate that his creativeness was a compensatory response to some early deprivations that had threatened the cohesiveness of his budding self. (Ernest S. Wolf, 1995)

Heinz Kohut and Thomas Mann: A Story of Exile in the 20th Century

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• It occurs to me that as time and history have created dramatic shifts in my responses to Mann, so, too, tumultuous history and the experience of exile may also have created changes in the meanings the author had for

Kohut.

(Weisel-Barth, J., 2010).

Int. J. Psychoanal. Self Psychol., 5:103-109

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• We know that Kohut read The Magic Mountain (Mann, 1995) as a young European adolescent.

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• He read it feverishly and then immediately

reread it.

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• The book is something like a European “ship of

fools.”

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• It is set at a tuberculosis sanitarium in the Swiss Alps, where figures come together who represent the major intellectual currents and the social and political schisms of European civilization at the beginning of the 20th century.

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• Death in Venice (Mann, 1959) prompted Kohut's first published journal piece (Kohut, 1957). So, what did Mann's books mean to Kohut?

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• I am speculating here that they represent the concerns and identifications of his European youth, and I think Thomas Mann particularly was a figure with whom Kohut identified early and strongly.

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• Most ironically, the flower of Kohut's thinking, self psychology, has an undisputedly American flavor.

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• For example, as in much classical American literature, classical self psychology seems to elevate the development of the individual self while scanting the importance of culture and community in that development.

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• It is interesting to note that contemporary self psychology and intersubjectivity theory have revised this aspect of Kohut and restored an emphasis on contexts of being in all their forms.

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• With its accent on real relationships—the insistence that development of a cohesive self reflects a history of real satisfactory selfobject experience, with its repudiation of innate aggression and the death instinct, with its ultimate repudiation of libidinal drive theory, and with its optimistic developmental tilt— self psychology is discontinuous with traditional European psychoanalysis.

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• Our own self psychology—what a surprising and unpredictable result of the painful uprooting and transplantation of Heinz Kohut from Europe and his immersion in American culture!

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• He could hardly have moved farther away

from Thomas Mann and the European ideal.

Homesickness, Exile, and the Self-Psychological Language of Homecoming

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• How did Heinz Kohut's experiences as an exile from the place of his birth and a “refugee” of trauma affect the development of self psychology?

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• The authors conjecture that Kohut's life experiences helped him to plumb the depths of the “fractured, enfeebled, discontinuous” aspects of human experience and allowed him to appreciate the centrality of longings for empathic connectedness. (Brothers, D. and Lewis, J., 2012)

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Int. J. Psychoanal. Self Psychol., 7:180-195