PsychBytes

A publication of the Washington Baltimore Center for Psychoanalysis

Share This Post

Here, There, Everywhere

María Laguna, MSW, MITPP, New York City
Guest Author, Washington Baltimore Center for Psychoanalysis
December 2020 | Volume 7 | Issue 6

I had a dream recently. In my dream I am sitting in my bedroom waiting for my next patient. (No, I didn’t see patients in my bedroom until the pandemic started. Well, technically they are not in my bedroom: most of them are in their bedrooms, in their cars, or on their porches. During Zoom sessions we are meeting neither here nor there, but we coexist in the Cyberspace: a space without a specific identifiable location, but with a life of its own.)

All of a sudden my bedroom gets flooded. A tsunami erupts and breaks through my bedroom window. As I look around I realize I am not actually in my current bedroom, but in the bedroom of my adolescence. How is this possible? I haven’t been in that room for over a decade. There is only one explanation for this: I must be dreaming. As I jump on my bed and I look around, I see a big wave wash over my Uruguayan passport, my laptop, my ID’s. The water keeps rising … What should I do? If my passport is lost, I won’t be able to return to New York, to my real room … but where is my room? Where am I? And When am I? The water keeps rising, I can’t breathe.I think of going to the hospital, but then I decide not to: a lot of people are dying there, and I may die too.”

I wake up from this dream, gasping for air but relieved. I am back in New York, a city that welcomed me in, but makes me scared of getting out. Neither in, neither out … neither here, nor there … it might be true that the pandemic can mobilize our inner fears, but perhaps also our inner hopes: suspended in this in-betweenness is where I feel at home, and where I help my patients create their own. No matter where one’s therapy office is, a psychoanalytically informed treatment offers the opportunity to stand in the spaces between our multiple selves, and find and re-find ourselves at home, regardless of our geographical location.

Explore more in PsychBytes

On Leaving and Holding

One aspect of Joachim Trier’s 2026, Academy Award-nominated film, Sentimental Value, lingers: the idea that a house can hold memory, and in doing so, remind people of who they are and who they have been. The family home in the film becomes a kind of unconscious structure, a repository for grief, history, and the versions of themselves they could not keep.

I have never had that kind of house.

I have moved every two to four years for as long as I can remember. My life can be mapped through new cupboards and unfamiliar ceilings. I learned early how to fold myself into spaces never meant to hold me for long. Even now, some part of me is already preparing an exit.

WHY MAKE MIRROR ART IN WAR-TORN TEHRAN?

Why does Aref Montazeri, an Iranian sculptor whose art sells for over a million dollars, continue to make his towering works from shards of mirror glass in his studio in Tehran, amid window-shattering bomb blasts? He gently wraps his creations in shock-absorbing material, but why continue with such a fragile medium? In a Wall Street Journal article by Kelly Crow (May 2-3, 2026), he says, “Nothing, not even war, should prevent us from pursuing what we aim for.”

Content Edit Request

Content Edit Request

Please submit one request at a time.