"Every day I get many calls, from all over the world about how awful you are. How awful this article is. How bad it all is for psychoanalysis (quoting Eissler, page 193).
Jeffrey Moussaieff Masson
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During the LA riots English people were trying to sympathize with me, "Oh Bill, crime is horrible. If it's any consolation, crime is awful here, too." Shut up. This is Hobbiton and I'm Bill-bo Hicks … You gotta see English crime. It's hilarious. You don't know if you're reading the front page or the comic section over there. I swear to God. I read an article front page of the paper one day, in England: "Yesterday, some hooligans knocked over a dustbin in Shaftesbury." … Wooooo. The hooligans are loose! The hooligans are loose! … What if they become ruffians? I would hate to be a dustbin in Shaftesbury tonight. [to the tune of "Behind Blue Eyes" by The Who] "No one knows what it's like … to be a dustbin … in Shaftesbury … with hooligans …"
Bill Hicks
Beginning a book is unpleasant. I’m entirely uncertain about the character and the predicament, and a character in his predicament is what I have to begin with. Worse than not knowing your subject is not knowing how to treat it, because that’s finally everything. I type out beginnings and they’re awful, more of an unconscious parody of my previous book than the breakaway from it that I want. I need something driving down the center of a book, a magnet to draw everything to it—that’s what I look for during the first months of writing something new. I often have to write a hundred pages or more before there’s a paragraph that’s alive. Okay, I say to myself, that’s your beginning, start there; that’s the first paragraph of the book. I’ll go over the first six months of work and underline in red a paragraph, a sentence, sometimes no more than a phrase, that has some life in it, and then I’ll type all these out on one page. Usually it doesn’t come to more than one page, but if I’m lucky, that’s the start of page one. I look for the liveliness to set the tone. After the awful beginning come the months of freewheeling play, and after the play come the crises, turning against your material and hating the book.
Philip Roth
Awful things!... truly awful. The floor in our dressing room starts to run with blood... disembodied hands come out of the wall and crawl across the stage.
Susan Kay
Eissler's rage knew no bounds. He did not like being harrassed by other analysts. "Just today Masud Khan called me from London and asked me to dismiss you from the Archives. The board members, all of them, or at least most of them, are asking for the same." (page 194)
Jeffrey Moussaieff Masson
After returning to Berkeley, I was called by the New York Times. They had heard about the paper and the response to it and wanted to send a reporter to Berkeley to talk to me about the issues surrounding it. Ralph Blumenthal came to Berkeley, spent a few days talking with me, left and wrote a sober and intelligent account, sketchy and somewhat popular, but basically correct. I was completely unprepared for the storm it was to provoke within psychoanalytic circles. To this day I am not entirely certain what it was in the article that so infuriated the analytic community. But there can be no doubt about the severity of the anger, even rage, directed at me. The two-part article was published in the "Science" section of the Times on two successive Tuesdays, August 14, and August 21,1981. I happened to be in England when the first part came out. Anna Freud had seen it and called me. "I am surprised at all the phone calls I have been receiving. I can't see anything so terrible in this article." I was relieved. (page 193)
Jeffrey Moussaieff Masson
Masson, Jeffrey Moussaieff
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