The true depth and power of psychoanalysis is derived at
the point in your narrative where you touch the infinite,
which is silence. In moments of self-absorbed reflection in Dr.
Shengold’s office – in those moments where Esther touched the infinite –
she imagined herself as a literary character. In analysis Esther’s
joys, her passions, and her afflictions were portioned in fifty-minute
segments like the raptures of fictive beings whose lives were
divided into one-hundred word chapters. At times, in response to
Dr. Shengold’s reproving interventions, Esther envisaged herself as a figure
in a nineteenth-century novel, a villainess whose moral deficiencies invited scorn.
Paraphrase from the article “A Cellist’s Challenge: Playing Bach, Surrounded by Twisting Bodies” by Corinna da Fonseca-Wollheim.
Article by Bret Stephens’ wife: