"The ubiquitous cartoons of psychoanalysis in the New Yorker always show a kind of chaise long, the patient's head propped up at one end"by Anna Blundy / June 16, 2016 / Leave a comment
Published in July 2016 issue of Prospect Magazine
If you go to the Freud Museum in Hampstead, you can see Sigmund Freud’s actual couch, a chaise longue given to him by the grateful patient Madame Benvenisti in 1890-ish. Once alone in the museum, with his collection of antique figures, his desk, books and paintings, I found something painfully moving about that couch, draped with Persian carpets and now empty of anyone’s unconscious. Dora, the Rat Man, Anna O, the Wolf Man (pseudonyms given to his patients) all lay there, Freud sitting behind them. This is where it all began. (Well, actually, it began in Vienna—here is where it ended when Freud died in 1939.)
The thing itself seems full of the shivering foreboding and promise, the extreme sorrow, pain and eventual calm of an analysis, Freud’s presence almost tangible. (Freud could pack the whole disintegrating, re-integrating roller-coaster of analysis into six weeks—something to envy for today’s analysands, who are looking at a good five-year minimum.) Upstairs you can watch home videos of a party held in the garden here, the dogs, blue-tongued Chows, pootling about in the flowerbeds, Freud receiving well-wishers. In any case, it’s worth a visit for the gift shop alone: Post-its labelled Freudian Slips, a pair of Freudian slippers, the Freudian Sips mug, which reads “When you say one thing but mean your mother.” I could go on (and on).
My own relationship with The Couch is complicated. The first (and only) one I was invited to lie on was actually a single bed in my analyst’s attic consulting room. There were Freudian knick-knacks about the place, little sc…