By James S. Grotstein
The scope of this paintings is to synopsize, synthesize, expand, and to problem Bion in a reader-friendly demeanour. featuring an important legacy-ideas for psychoanalysis—the rules which are at the leading edge of the sector that have to be recognized by way of the psychological future health career at large—it highlights and defines the wider and deeper implications of his works.
A Beam of excessive Darkness provides Bion’s rules faithfully and likewise makes use of his principles as launching pads for the author’s conjectures approximately the place Bion's principles aspect. This comprises such rules as “the Language of Achievement”, “reverie,” “truth,” “O,” and “transformations”–in, of, and from it, but in addition “ L,” “H,” and “K” linkages (to convey how Bion rerouted Freud’s instinctual drives to emotions), “container/contained", Bion’s rules on “dreaming,” “becoming,” “thoughts with out a thinker,” “the Grid,” his erasure of the excellence among Freud’s, “primary and secondary strategies “ and the “pleasure” and “reality principles,” “reversible perspective,” “shifting vertices,” “binocular vision,” “contact-barrier,” the alternative of “consciousness” and “unconsciousness” with infinity and finiteness, Bion’s use of versions, his contrast among “mentalization” and “thinking,” in addition to many different goods.
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Extra info for A beam of intense darkness : Wilfred Bion's legacy to psychoanalysis
My own view from my analysis with him was that he was essentially—and deeply—Kleinian, but with his own unique ﬂourish. I do not believe one can appreciate his works without having a familiarity with Kleinian ideas, such as the relationship between the paranoid–schizoid and depressive positions (P–S ↔ D), persecutory and depressive anxieties, the archaic part-object Oedipus complex (Kleinian version), greed, envy, and splitting and projective identiﬁcation. I recall many of Bion’s interpretations that were essentially Kleinian part-object interventions.
Unfortunately, the density and nonlinearity of his prose style seems to lend itself either to resentment or to idealization. My South American colleagues have found that reading Bion—especially his trilogy, A Memoir of the Future (1975, 1977b, 1979, 18 A BEAM OF INTENSE DARKNESS 1981)—is best done in groups, and I tend to agree. Bion’s prose style is exhortative, evocative, and indicative (points to something beyond) rather than iconic and speciﬁc, and it demands enthusiastic confrontation, engagement, and participation on the part of the reader—perhaps even meditation—so as to be all the more open to one’s inner ear and vision.
Thus, an unconscious attack against an object (old concept) becomes an attack against the link with the object. Yet another unforgettable moment was the session in which I referred to my sister. His reply was: “Your sister is not a member of your family. She is a member of your father’s family. When you were a child and a member of your father’s family, you were rehearsing becoming a grown-up, the time at which you would ﬁnd your own family. That is the thing-in-itself. ” [A very Bionian interpretation] A real “Bion moment” occurred in the following instance: Bion had given me an extensive and thorough interpretation about a worry I was having.