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Coetzee J M - The Good Story: Exchanges on Truth, Fiction and Psychotherapy

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Coetzee J M The Good Story: Exchanges on Truth, Fiction and Psychotherapy
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A fascinating dialogue on the human desire to make up stories between Nobel Prizewinning author J. M. Coetzee and psychotherapist Arabella Kurtz
The Good Story is an exchange between a writer with a long-standing interest in moral psychology and a psychotherapist with training in literary studies. Coetzee and Kurtz consider psychotherapy and its wider social context from different perspectives, but at the heart of both their approaches is a fascination with narrative. Working alone, the writer is in control of the story he or she tells. The therapist, on the other hand, collaborates with the patient in telling the story that might reveal the truth.
The authors discuss both individual psychology and the psychology of the group: the school classroom, the gang, the settler nation in which the brutal deeds of the ancestors must be accommodated into a national story. In a meeting of the minds that is illuminating, surprising, and thought...

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Also by J M Coetzee Dusklands In the Heart of the Country Waiting for - photo 1
Also by J. M. Coetzee

Dusklands

In the Heart of the Country

Waiting for the Barbarians

Life & Times of Michael K

Foe

White Writing

Age of Iron

Doubling the Point: Essays and Interviews

The Master of Petersburg

Giving Offense

Boyhood

The Lives of Animals

Disgrace

Stranger Shores: Essays 19861999

Youth

Elizabeth Costello

Slow Man

Inner Workings

Diary of a Bad Year

Summertime

Scenes from Provincial Life

The Childhood of Jesus

(with Paul Auster) Here and Now: Letters, 20082011

VIKING An imprint of Penguin Random House LLC 375 Hudson Street New York New - photo 2

VIKING

An imprint of Penguin Random House LLC

375 Hudson Street

New York, New York 10014

penguin.com

Copyright 2015 by J. M. Coetzee

Copyright 2015 by Arabella Kurtz

Penguin supports copyright. Copyright fuels creativity, encourages diverse voices, promotes free speech, and creates a vibrant culture. Thank you for buying an authorized edition of this book and for complying with copyright laws by not reproducing, scanning, or distributing any part of it in any form without permission. You are supporting writers and allowing Penguin to continue to publish books for every reader.

First published in Great Britain by Harvill Secker.

ISBN 978-0-698-40521-9

Version_1

AUTHORS NOTE

The exchanges that follow are about the practice of psychoanalytic psychotherapy and what that practice means in a wider social and philosophical sphere. They touch on psychic processes, in individuals and in groups, both inside and outside of the clinical setting. Given that in our secular age and in the Western world psychotherapy and the ideal of personal growth have become part of the Zeitgeist, we hope that they will also be felt to be relevant to readers beyond the borders of the therapeutic profession.

The exchanges are premised on the idea that something is to be gained by a therapist exploring their practice in the company of an outsider to the discipline of psychology, in this case a sympathetically disposed writer and literary critic. On the face of it the psychotherapist and the novelist have much in common, at least in terms of the focus of their interest. Human nature and human experience concern them both deeply, as do possibilities of growth and development.

Language is the working medium of both writers and psychotherapists. Both are occupied with the exploration, description and analysis of human experience, with finding or inventing linguistic and narrative structures within which to contain experience, and with the outer limits of experience.

The intellectual engagement reflected in these exchanges commenced in 2008, and reflects (on the one side) the interest of a therapist struck by a body of novelistic work in which internal processes are conveyed from a point of view that is radically different from a psychotherapeutic one (for instance, the terse, energetic account of Michael Ks mental resistance to oppression in Life & Times of Michael K); and (on the other side) the interest of a writer in deepening his understanding of a post-religious form of therapeutic dialogue.

This book is the second product of this engagement. The first appeared under the title Nevertheless, my sympathies are with the Karamazovs in the journal Salmagundi, nos. 166167 (2010), pp. 3972.

These exchanges are offered in an interdisciplinary spirit, as well as in a spirit of exploration. They do not always follow a linear train of thought. They sometimes repeat and contradict themselves, they return to insistent preoccupations, they pursue lines of thinking without always knowing where they will lead all of this in the hope that they may here and there open a new or unusual perspective on the practice of psychoanalytic psychotherapy and on the psychotherapeutic project in its wider social forms.

The authors wish to acknowledge the following for their helpful comments on drafts of the exchanges and/or for valuable discussion of relevant ideas: Nick Everett, Jillian Vites, Orna Hadary, Margot Waddell and Daisy Evans.

AK & JMC

N OTE ON THE U SE OF C LINICAL E XAMPLES

Details in the clinical examples used in the exchanges have been changed to protect the anonymity of patients. The option of disguising material rather than obtaining consent from patients has been chosen because of the risk of intrusion into the therapeutic process.

G LOS SARY AND R EFERENCES

Terms in bold are defined in the Glossary. Asterisks direct the reader to the References.

ONE

Being author of ones life-story (inventing ones past) versus being merely its narrator. Producing a well-shaped story versus telling the true story.

The analyst as the storys ideally attentive listener. Hearing and analysing resistances in the narrative. The therapeutic goal: freeing the patients voice, the patients narrative imagination.

Picture 3

JMC What are the qualities of a good (a plausible, even a compelling) story? When I tell other people the story of my life and more importantly when I tell myself the story of my life should I try to make it into a well-formed artefact, passing swiftly over the times when nothing happened, heightening the drama of the times when lots was happening, giving the narrative a shape, creating anticipation and suspense; or on the contrary should I be neutral, objective, striving to tell a kind of truth that would meet the criteria of the courtroom: the truth, the whole truth, and nothing but the truth?

What relationship do I have with my life history? Am I its conscious author, or should I think of myself as simply a voice uttering with as little interference as possible a stream of words welling up from my interior? Above all, given the wealth of material I hold in memory, the material of a lifetime, what should or must I leave out, bearing in mind Freuds warning that what I omit without thinking (i.e. without conscious thought) may be the key to the deepest truth about me? Yet how is it logically possible for me to know what I am unthinkingly leaving out?

The Good Story Exchanges on Truth Fiction and Psychotherapy - image 4

AK I suppose it is the task of psychoanalysis to try to tell the deepest truth; or more modestly and more accurately, to analyse resistances to its telling so that an individuals story can emerge in as full and coherent and engaged a way as possible at any one point because the process is continuous, the story ever-changing. The true story one might tell as a child will be different from the story one might tell about the same experiences as an adolescent, or an adult, and so on.

Freud proposed the method of free association as the best way of getting access to unconscious experience in the consulting room, but in my experience it really doesnt work in the way people expect. The patient is invited to speak as freely as they are able, without reference to normal social rules and niceties, but what he or she usually discovers is the extent to which free expression is constrained even in the privacy of their own minds. What this does is allow us to see the way that

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