By Gill Rye, Michael Worton
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Louise Lambrichs’s œuvre comprises five novels but also a number of factual or biographical works on medical issues such as cancer, dyslexia and sterility. 1 Journal d’Hannah concerns a woman forced to abort a much-wanted second child and subsequently rendered sterile, while A ton image deals with the issues of cloning and incest. However, the fascination of Lambrichs’s novels lies less with the medical issues than in the psychological perspective she adopts. Her work persistently explores the creative possibilities inherent in our psychic resources – the way that unconscious mental life conjures up both convoluted resolutions and swift, brutally annihilating breakdowns in the aftermath of traumatic experience.
Dreams are not narratives in the conventional sense; they do not generally tell coherent stories or generate readily understandable significance. Instead they tend to play havoc with our notions of cause and effect, rework and reformulate relations of space and time, and push back the boundaries of representation in their excessive use of symbolism and metaphor. Dreams are to reality what particularly obscure modern poetry is to the novel; they are playful improvisation with a dash of karaoke, instead of the sober method acting of everyday life.
The twenty-year span of her dream life would imply that some kind of mental work was nevertheless underway. In his essay ‘The psychological function of dreams’ James L. Fosshage presents a useful summary of current theory, arguing that instead of wish-fulfilment: ‘new models of dream formation . . 9 In other words, dreams have a significant role to play in maintaining, and also repairing, the healthy psychic structures of the mind. We can understand the dream as a space in which the mind’s creativity comes into juxtaposition with both trivial details of the day and the excessively significant emotive forces of the unconscious.
