Jacques Lacan, 1976<\/figcaption><\/figure>\n <\/p>\n
For those on the outside of psychoanalysis the actual analytic session can seem rather opaque. What happens in the small room stays in the small room. Betty Milan\u2019s Analyzed by Lacan: A personal account (translated by Clifford E. Landers and Chris Vanderwees) is therefore an absorbing attempt to draw back the curtain by someone for whom analysis was pivotal, and whose analyst was one of the most provocative of all practitioners \u2013 Jacques Lacan.<\/span>\u00a0<\/span><\/p>\nMilan, herself a psychoanalyst, left her native Brazil several times in the 1970s, originally simply to talk to Lacan about bringing someone to Brazil to teach a seminar on his work, but later to be analysed: after a first meeting she declared herself \u201cno longer the same\u201d. She is also a playwright, novelist and essayist, and conveys a vivid sense of her encounters with the (always capitalized) \u201cDoctor\u201d.<\/span>\u00a0<\/span><\/p>\nThe book is in three parts: an account of Milan\u2019s sessions with Lacan; the script of her play Goodbye Doctor, which formed the basis of the film Adieu Lacan (2022); and an interview with the author that recaps the contents of the book and does not add very much. The first third is perhaps the most valuable. Lacan\u2019s eccentricities are brought amusingly to life \u2013 the shock of hair, the dandyish wardrobe (\u201cThe Doctor wore a velvet-and-silk-striped jacket and pink shorts, reminiscent of the cotton candy sold at the entrance of circuses.\u201d) \u2013 but the prevailing tone is that of a serious investigation.<\/span>\u00a0<\/span><\/p>\nFor Milan the process of psychoanalysis is built around, as Lacan puts it, \u201cpunctuation not interpretation\u201d. He was thrown out of the Soci\u00e9t\u00e9 Fran\u00e7aise de Psychanalyse for cutting sessions short rather than adhering to the statutory fifty minutes. Milan\u2019s book is a powerful defence of his practice, however, and a fascinating exploration of it. Lacan argued that psychoanalysis happens between sessions, not at them. Milan recalls that he would suddenly end sessions with a vaguely avuncular \u201csee you tomorrow\u201d in order to \u201chave me listen to myself\u201d. That these moments could be disorientating was, for Lacan, part of their purpose. \u201cWe must not\u201d, he said, \u201cunderstand too quickly.\u201d By exploring the moment of cessation the analysand does the work of analysis away from the analyst.<\/span>\u00a0<\/span><\/p>\nThese interruptions lead Milan to explore her origins as a Lebanese exile living in Brazil. She thinks about identity and dislocation as she walks around Paris, that place \u201cmade for the eyes … [in which] it is an invitation to see and to be seen\u201d. She grapples with three languages, both on her own and with Lacan: French (\u201cwords like objects\u201d), Portuguese (\u201ctranslucent, light as veils\u201d) and Arabic, the language of her childhood family home. Each vie for importance, perhaps because, as Lacan puts it, \u201cthe unconscious can manifest itself in any language\u201d.<\/span>\u00a0<\/span><\/p>\nLacan also has what we might call the gift of interruption. While much of what he says seems, to the reader, gently encouraging (\u201cTell me”, \u201cWhat else?\u201d, \u201cGo ahead\u201d), for Milan he is a master of finding the moment to intervene. She calls this \u201cthe precipitation of desire … through a well-timed interruption\u201d. Each session \u201cwas a surprising event\u201d. She rings Lacan to tell him she is in Paris, and his response, \u201cSo what?\u201d, sets the template for their<\/span>relationship, inexplicable from the outside as so many are. It was Lacan who suggested that she come to France, but for Milan his dismissiveness forces her to acknowledge her own desire to be analysed. It is something to fight for. \u201cBy hanging up the phone with a snap, he had made me hear my desire … he had made abruptness a terribly effective analytical spring.\u201d Freud\u2019s concept of <\/span>Nachtraglichkeit <\/span><\/i>(translated into French as \u201capres-coup\u201d and English as \u201cafterwardness\u201d) is a mode of belated understanding, but this isn\u2019t quite that, because Milan seems to understand the effects of her analysis at the time.<\/span>\u00a0<\/span><\/p>\nHer willingness to accept anything that Lacan says or does as a masterful way to get at her unconscious occasionally jars. He takes her money, and that is brilliant psychoanalysis; he doesn\u2019t take her money, and that is equally brilliant. One thinks of Karl Popper\u2019s \u201cfalsification principle\u201d argument against psychoanalysis as a science: lacking conditions where something can be shown to be false, its truth claims are unsustainable.\u00a0<\/span>\u00a0<\/span><\/p>\nAlso, Milan sometimes seems too much like the model analysand. Apart from her desire to become a psychoanalyst, she chooses to learn French not by studying a primer or listening to the radio and TV, but by reading Proust and Celine. She recalls that her father hung a whip near the front door to discourage her from going outside. In dreams she sees her mother writing <\/span>Spirochaeta pallida – <\/span><\/i>Latin for the syphilis bacterium – in the desert sand. The reader may wonder what Lacan would have done with a more banal set of symptoms.<\/span>\u00a0<\/span><\/p>\nBut Milan is telling her own story, and for her analysis was revelatory. It changed her life and produced the person she has become – someone who translated Lacan into Portuguese, for example. In fact she translates one of his seminars while being analysed, but he seems unimpressed when she puts the manuscript on his desk, and doesn\u2019t look at it.<\/span>\u00a0<\/span><\/p>\n\u201cIt is not my language\u201d, he calmly tells her. She later finds out that he was delighted with the translation, but that it wasn\u2019t his role to say so, and \u201clike all the greats … he never left his role\u201d. The subject of psychoanalysis is \u201cnot the subject of thought, but the subject of the unconscious.\u201d<\/span>\u00a0<\/span><\/p>\nAnalyzed by Lacan <\/span><\/i>is the first time Milan has written factually about her experiences with Lacan, though she explored analysis in the play <\/span>Goodbye Doctor <\/span><\/i>(2015) and the novel <\/span>Lacan\u2019s Parrot <\/span><\/i>(1997). The two were combined in the film <\/span>Adieu Lacan, <\/span><\/i>with the sessions in Lacan\u2019s office shot in claustrophobic black-and-white. The play and the film are themselves fascinating documents of a strange coming together of two desiring humans: one with a desire to speak, the other with a desire to listen.\u00a0<\/span>\u00a0<\/span><\/p>\nTowards the end of her analysis Betty Milan decides that she must return to Brazil and tells Lacan she is going to stop the sessions, as she has nothing left to say. Anyway, she chides him, \u201cYou are not interested in what I say. Only in what there still is to say\u201d. \u201cThat\u2019s it\u201d, he replies. \u201cSee you tomorrow.\u201d\u00a0<\/span>\u00a0<\/span><\/p>\nLeia a mat\u00e9ria no Literary Times<\/strong><\/em><\/a><\/p>\n<\/p>","protected":false},"excerpt":{"rendered":"
Goodbye Doctor On the couch with \u2018the most controversial analyst since Freud\u2019 By Peter Salmon ANALYZED BY LACAN – A personal account – BETTY MILAN Translated by Clifford E. Landers and Chris Vanderwees 144pp. Bloomsbury Academic. Paperback, \u00a314.99 For those on the outside of psychoanalysis the actual analytic session can seem rather opaque. …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[47,102,107,29],"tags":[],"class_list":["post-6667","post","type-post","status-publish","format-standard","hentry","category-sobre-as-obras-bmf","category-betty-fala","category-midia-bmf-obra","category-entrevistas"],"yoast_head":"\n
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