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Viennese Comedy puts Freud on the couch

May 25, 2012 10:29
Skibell's A Curable Romantic
1 min read

In Joseph Skibell’s new novel, Dr Jakob Sammelsohn, an impoverished ophthalmologist in Vienna with a non-existent sex life, falls in love with a woman he sees at the theatre. In the play’s interval, he engineers a conversation with her companion, who, it transpires, is Sigmund Freud.

Sammelsohn soon discovers that his inamorata is Emma Eckstein, one of Freud’s earliest patients who suffered from hysteria. In his inept way, Sammelsohn pursues Emma, despite Freud’s admonitions that doing so would endanger her health. Skibell’s Freud is autocratic, wilful, more concerned for his scientific reputation than his patients, and ostentatiously — indeed implausbily — Jewish (he refers to his Saturday-night card games as “our little malavah malkahs”).

Skibell depicts with gusto the intellectual excitement and crankiness of the early days of psychoanalysis. He is particularly brilliant when elucidating its religious nature. It was not merely the “Jewish Science” because its practitioners were Jewish. Psychoanalysis itself was a form of neurosis, the revenge of a minority that suffered from persistent antisemitism and the failure of emancipation to incorporate Jewry into the body politic. Freud showed the Germans that beneath their bourgeois complacency lurked torturous psychosexual traumas.

The story takes a fantastical turn when it transpires that Emma’s hysteria may actually be demonic possession by the soul of Ita, Jakob’s dead wife, to whom Jakob had been married off in punishment for his interest in the Jewish Enlightenment. As Sammelsohn negotiates the hostage situation, Freud’s scientific disbelief in the existence of dybbuks begins to fray.