Sublime

Winnicott would never insist on Klein’s equation of development and the acquisition of knowledge. And in his later work he would replace the capacity to know by the capacity to play, as a criterion for health. In Winnicott’s work it would sometimes seem as though for him the (perhaps unconscious) aim of any method, or set of rules, was to make

Chez Strauss le processus de travail est tout à fait remarquable. Rien de démonique, pas de « raptus » artistique, aucune trace des dépressions et des désespoirs qu’on connaît par les biographies de Beethoven ou de Wagner. Strauss travaille avec froideur et sobriété, il compose — comme Johann Sebastian Bach, comme tous ces sublimes artisans de leur

He was the powerful, all-but-immortal Incarnation standing tall after a harsh battle. He was the menace, looming over a weary swordsman who kept his blade raised in futile defiance. He was the uncaring master, carelessly discarding minions by the score, their bodies strewn all over the street. He was the traitor who had beaten Simon bloody for

Trauma causes people to remain stuck in interpreting the present in light of an unchanging past.

Back in Brooklyn, a poet-nurse to the Union dying writes: A leaf of grass is no less than the journey-work of the stars. Jørgen never reads these words.