"No wonder that historically art and psychosis have had such an intimate relationship, that the road to creativity passes so close to the madhouse and often detours or ends there."

“odern man is the victim of his own disillusionment; he has been disinherited by his own analytic strength. The characteristic of the modern mind is the banishment of mystery, of naive belief, of simple-minded hope. We put the accent on the visible, the clear, the cause-and-effect relation, the logical—always the logical. We know the difference between dreams and reality, between facts and fictions, between symbols and bodies. But right away we can see that these characteristics of the modern mind are exactly those of neurosis. What typifies the neurotic is that he “knows” his situation vis-à-vis reality. He has no doubts; there is nothing you can say to sway him, to give him hope or trust. He is a miserable animal whose body decays, who will die, who will pass into dust and oblivion, disappear forever not only in this world but in all the possible dimensions of the universe, whose life serves no conceivable purpose, who may as well not have been born, and so on and so forth. He knows Truth and Reality, the motives of the entire universe.”

“ature has arranged that it is impossible for man to feel “right” in any straightforward way. Here we have to introduce a paradox that seems to go right to the heart of organismic life and that is especially sharpened in man. The paradox takes the form of two motives or urges that seem to be part of creature consciousness and that point in two opposite directions. On the one hand the creature is impelled by a powerful desire to identify with the cosmic process, to merge himself with the rest of nature. On the other hand he wants to be unique, to stand out as something different and apart. The first motive— to merge and lose oneself in something larger—comes from man’s horror of isolation, of being thrust back upon his own feeble energies alone; he feels tremblingly small and impotent in the face of transcendent nature. If he gives in to his natural feeling of cosmic dependence, the desire to be part of something bigger, it puts him at peace and at oneness, gives him a sense of self-expansion in a larger beyond, and so heightens his being, giving him truly a feeling of transcendent value. This is the Christian motive of Agape—the natural melding of created life in the “Creation-in-love” which transcends it. As Rank put it, man yearns for a “feeling of kinship with the All.” He wants to be “delivered from his isolation” and become “part of a greater and higher whole.” The person reaches out naturally for a self beyond his own self in order to know who he is at all, in order to feel that he belongs in the universe. Long before Camus penned the words of the epigraph to this chapter, Rank said: “For only by living in close union with a god-ideal that has been erected outside one’s own ego is one able to live at all.”

“It is fateful and ironic how the lie we need in order to live dooms us to a life that is never really ours.”

“Freud was right to see the centrality of the image of the phallic mother and to connect it directly with the castration complex. But he was wrong to make the sexual side of the problem the central core of it, to take what is derivative and make it primary . The wish for the phallic mother, the horror of the female genitals, may well be a universal experience of mankind, for girls as well as boys. But the reason is that the child wants to see the omnipotent mother, the miraculous source of all his protection, nourishment, and love, as a really godlike creature complete beyond the accident of a split into two sexes. The threat of the castrated mother is thus a threat to his whole existence in that his mother is an animal thing and not a transcendent angel. The fate that he then fears, that turns him away from the mother in horror, is that he too is a “fallen” bodily creature, the very thing that he fights to overcome by his anal training. The horror of the female genitals, then, is the shock of the tiny child who is all at once—before the age of six—suddenly turned into a philosopher, a tragedian who must be a man long before his time and who must draw on reserves of wisdom and strength that he doesn’t have. Again, this is the burden of the “primal scene”: not that it awakens unbearable sexual desires in the child or aggressive hate and jealousy toward the father, but rather that it thoroughly confuses him about the nature of man.”

“Man cannot endure his own littleness unless he can translate it into meaningfulness on the largest possible level.”

“The person is both a self and a body, and from the beginning there is the confusion about where “he” really “is”—in the symbolic inner self or in the physical body. Each phenomenological realm is different. The inner self represents the freedom of thought, imagination, and the infinite reach of symbolism. The body represents determinism and boundness. The child gradually learns that his freedom as a unique being is dragged back by the body and its appendages which dicate “what” he is. For this reason sexuality is as much a problem for the adult as for the child: the physical solution to the problem of who we are and why we have emerged on this planet is no help—in fact, it is a terrible threat. It doesn’t tell the person what he is deep down inside, what kind of distinctive gift he is to work upon the world. This is why it is so difficult to have sex without guilt: guilt is there because the body casts a shadow on the person’s inner freedom, his “real self” that—through the act of sex—is being forced into a standardized, mechanical, biological role. Even worse, the inner self is not even being called into consideration at all; the body takes over completely for the total person, and this kind of guilt makes the inner self shrink and threaten to disappear.”