PsychBytes

A publication of the Washington Baltimore Center for Psychoanalysis

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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.

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“Pagan” or Sublime?

When the curtain rises on Brian Friel’s renowned play, “Dancing at Lughnasa,” Michael, a pleasant young man, addresses the audience as though he’s lying on an analyst’s couch: “When I cast my mind back to that summer of 1936, different kinds of memories offer themselves to me.” He was only seven, but the memories still make him “uneasy;” it was a time of “things changing too quickly.” These memories unfold for us on the stage.

Closings

At a funeral, I read Tennyson’s poem, “Crossing the Bar,” written when he was 80. He requested this poem be printed at the end of future publications of his work. He was closing his life’s work knowing he soon would be “crossing the bar.”

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