PsychBytes

A publication of the Washington Baltimore Center for Psychoanalysis

Share This Post

Othering

Kerry Malawista, PhD
Member, Washington Baltimore Center for Psychoanalysis
October 2018 | Volume 5 | Issue 9

Even in a world where one feels mostly accepted, we can at times feel alone and excluded—removed from others whose lives we perceive as more whole, more fulfilling, better. More difficult to accept are the ways we do the excluding, the way the other becomes stained with our unwanted parts.

I remember vividly one such moment: I had just given birth to our second daughter. My husband and I were watching the news, and there was a report on a nearby tragedy: A couple, both doctors, had lost their two young children when the ice broke while they were skating. Hearing this story, I was gripped by the horror of losing both children: This could be us. In that moment, the unimaginable was imagined. Then a photo of that beautiful, intact family appeared on the screen, taken months earlier, and I was relieved. Their skin was darker than mine. We were safe: This could not happen to us.

By erecting a barrier (us–them), I had magically separated myself from the possibility of this tragedy. Freud referred to this maneuver as the “narcissism of minor differences.” While Freud understood it as a need to project one’s aggressive impulses onto an enemy (them), I saw my reaction as self-preserving, which allowed me to feel detached, and thereby protected.

Although humans are more the same than different, we continue to focus on what distinguishes us. Daily we see the horrors committed because of minor differences: racism, violence, genocide. The myth of the other is perpetuated when we forge no connection, offer no empathy, and don’t take the time to imagine who that other is.

Each of us knows outsiderness. Those wounds should inform and preclude the ways we inflict those same wounds onto others. In these polarizing times, we must work to hold the other in mind.

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.