New Books in Psychoanalysis

As the popular jazz standard tells us, “comes love, nothing can be done”, or can it? Galit Atlas begs to differ in her most recent book Come Closer: Childhood Wounds, Adult Love, and the Secrets of Emotional Intimacy, which describes six kinds of emotional styles, as we might call them, made manifest when we are young. Atlas, whose work has endeavored to sexualize the Relational School, here turns an eye both keen and wistful, towards love.
So, I admit to having read a few, but only a few, well maybe more than a few books like this, books that are psychoanalytically informed yet meant for a popular audience. In fact I credit one of them, Harriet Goldhor Lerner’s The Dance of Anger, for edging me towards the study of psychoanalysis. (Yes she is the mother of the author Ben Lerner btw, a fact I love.)
As a kind of preview to Atlas’ book, I want to share a little about how I read for NBiP interviews as on reading this book, my usual mode slipped away. I think that reveals something essential about Come Closer.
As an interviewer who speaks almost exclusively to authors of psychoanalytic books, I tend to read what populates my chosen queue tuned into a writer’s lineages. I am curious to see how the author situates themselves within the field’s family tree.
As an analyst who interviews, I also read hoping to find some help, like what to do with the fact that yesterday serious psychic quicksand started to seep its seep into my consulting room and I am scared. Can you, dear author, can you keep me from being pulled under?
Between a book’s covers I look for whether the author’s hand is grabbing mine, are our eyes meeting, do we share a wink, a nod, or get a leg up? And when a piece of psychoanalytic writing gives forth the new or the unexpected, like Dianne Elise, like Avgi Saketopolou? I live for it.
I am sometimes a demanding reader and my “process” is quasi-athletic, certainly physical: as a child I slumbered with novels that tumbled from my hands to collapse on my chest as I lost consciousness. I have spent the night together with many an NBiP author whose book ended up under my pillow crooking my neck.
I carried many of you on every train line. You gave me tennis elbow. I read you before the lights go out at the cinema and again as the curtain comes up, taking notes in the margins that I often cannot read three days later.
I highlight. I underline. I fold pages in half, leave exclamation points, write the words ‘yes’ or ‘no’ emphatically and if I don’t have a pen? I swipe the lipstick off my lips touching a page so as to denote my interest, positive or negative.
All my NBIP books come to resemble well loved rag dolls: they probably even smell like me.
So how to understand that when I read Galit Atlas’ Come Closer: Childhood Wounds, Adult Love, And The Secrets of Emotional Intimacy, my pen lay fallow?
I can say this: the book got a hold of me, and then once I was in it I got lost, so my hands they but held the book and nothing more, and they held it closely. Come Closer was telling me about myself.
It has the quality of a beach read, which is rare in our field for sure, and often such an assignation is meant as an insult, but it is the kind of book that you can put down precisely because you are so into it. And because you are hooked you put that sunscreen on your companion’s back and then run to the sea realizing you are overheated, maybe need to pee, get a coffee, call for a dinner reservation and when you come back to it, it’s as if you had never left, forget that you touched a body with lotion and tended to your own. Like an engrossing film where after you exit the cinema you see its visual remnants everywhere, like a friendly hallucination, this book’s world remains with you.
You cannot not find in yourself aspects of Atlas’ taxonomy: the guilty child who learns to lie, the melancholic child who won’t let go, the invisible child who sees it all, the frightened child who needs no explanation, the ashamed child who seeks perfection, and the chosen child who perhaps takes the hardest hit.
Freud said, in paraphrase, that our thoughts cannot but turn to work and love. Who among us doesn’t see the remnants of our early lives in the strange debris and the funny shapes our love lives take? And who, in their secret heart of hearts, doesn’t want to read a book of stories, cases sure, but by a psychoanalyst who has prose that flows, psychoanalytic formulations secreted in, a book that almost masquerades as self help, but, in refusing easy answers, in sticking with the truth of the unconscious, seduces believers and unbelievers both: we cannot get away from early life and in our love lives we cannot pretend otherwise. Come Closer comes so close it can feel like a second skin.

Psychoanalysing Mind-Body Narratives Through Beckett and Artaud: The Trauma of the Body (Routledge, 2026) provides an epistemology of the body as it relates to subjectivity through an analysis of selected works of Antonin Artaud and Samuel Beckett. Presented in three parts, the book explores a fundamental premise: that there is a traumatic and alienating dimension to embodiment that resists expression within representational systems and is core to the being of any subject. In Part One, The Epistemology of the Body, Meehan O'Callaghan approaches a theory of the body as traumatic by framing it as a question, a gap in knowledge through the lens of psychoanalysis and theatre studies. Part Two, The Body of Drama, is devoted to a study of the body in the works of Beckett and Artaud from the perspective of psychoanalysis. Part Three, The Body Between Being and Non-Being, provides a deeper exploration of how the interrogation of the body opens onto a question of being and uses the insights gained from the dialectical encounter of psychoanalysis with the specific works of Beckett and Artaud to apply them to contemporary and scholarly issues of the body. Psychoanalysing Mind-Body Narratives through Beckett and Artaud will be essential reading for psychoanalysts in practice and in training, and for academics and scholars of Lacanian studies, psychoanalytic studies, the body, disability studies, and literary and theatre studies.

This material and theoretical history of seriality shows it to be the dominant form of culture since its inception within 19th-century print culture, as both a media structure and a psychic one.
The serial is everywhere. Commonly identified by the segmented release structure of an ongoing narrative—from installments of Victorian novels to TV episodes to comic books—seriality names the spread of installment-based storytelling across a range of media. However, Ryan Engley argues that seriality is not only a narrative structure but also a psychic structure. Seriality—in its dependence on gaps, delay, and constraint—names the fundamental trauma of contemporary life: that there exists an intrinsic relation between self and other, a relation that is often difficult to see and difficult to bear.
Through formal readings of media texts alongside Freudian and Lacanian psychoanalysis, the dialectical method of G.W.F. Hegel, and Jean-Paul Sartre's existentialism, Seriality: Media and the Psychic Form of Everyday Life (Bloomsbury, 2026) shifts the focus of seriality studies. In so doing, Engley presents a rebuttal to the common refrain that our lives, like contemporary media, have become endlessly fragmented. Rather, Engley finds, we have become radically—serially—connected.
Ryan Engley is Assistant Professor of Media Studies at Pomona College, USA, where he teaches and researches the intersection of psychoanalytic theory and media studies. Along with Todd McGowan, Engley co-hosts the podcast Why Theory, which brings Continental philosophy and psychoanalytic theory together to examine contemporary phenomena.
Helena Vissing, PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California and Associate Professor at California Institute of Integral Studies. She can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023).
This is Part 2 of a 2 Part interview. Listen to Part 1 here

A collection of reported stories that explore the relationship between mothers and daughters, from the finalist for the Pulitzer Prize in Feature Writing for her work in The New Yorker. You Won’t Get Free: Stories of Mothers and Daughters (Knopf, 2026) of It tells the stories of mothers and daughters searching for each other and for themselves. Rachel Aviv explores the complexity of this relationship in seven essays, six originally published in The New Yorker and reconceived for this intimate, revelatory book. “I wrote some of these stories feeling, existentially, like a daughter, and now I have returned to them with a different identification,” Aviv writes. “It was as if I had failed to see the drama on the mother’s side, too—her particular longings and humiliations and needs.” Aviv writes about one mother searching for her vanished daughter; another who sacrifices herself for her daughters by working as a nanny for other people’s children. In the final story, a daughter’s traumatic experience is erased by her family, only to be recast by her mother, the writer Alice Munro, in stories celebrated around the world. You Won’t Get Free of It is an astonishing exploration of the competing dynamics of knowing and unknowing, recognition and refusal, that shape our most foundational relationship. Illuminating ineffable registers of experience, Aviv reckons with the way that disowned knowledge forms and deforms families and lives.
Liza Veale is a clinician in Oakland, California. She teaches at Access Institute for Psychological Services and serves on the editorial board of fort da, the journal of the Northern California Society for Psychoanalytic Psychology.

This material and theoretical history of seriality shows it to be the
dominant form of culture since its inception within 19th-century print
culture, as both a media structure and a psychic one.

The serial
is everywhere. Commonly identified by the segmented release structure of
an ongoing narrative—from installments of Victorian novels to TV
episodes to comic books—seriality names the spread of installment-based
storytelling across a range of media. However, Ryan Engley argues that
seriality is not only a narrative structure but also a psychic
structure. Seriality—in its dependence on gaps, delay, and
constraint—names the fundamental trauma of contemporary life: that there
exists an intrinsic relation between self and other, a relation that is
often difficult to see and difficult to bear.

Through formal
readings of media texts alongside Freudian and Lacanian psychoanalysis,
the dialectical method of G.W.F. Hegel, and Jean-Paul Sartre's
existentialism, Seriality: Media and the Psychic Form of Everyday Life (Bloomsbury, 2026) shifts
the focus of seriality studies. In so doing, Engley presents a rebuttal
to the common refrain that our lives, like contemporary media, have
become endlessly fragmented. Rather, Engley finds, we have become
radically—serially—connected.

Ryan Engley
is Assistant Professor of Media Studies at Pomona College, USA, where
he teaches and researches the intersection of psychoanalytic theory and
media studies. Along with Todd McGowan, Engley co-hosts the podcast Why Theory, which brings Continental philosophy and psychoanalytic theory together to examine contemporary phenomena.

Helena Vissing,
PsyD, SEP, PMH-C is a Licensed Psychologist practicing in California
and Associate Professor at California Institute of Integral Studies. She
can be reached at contact@helenavissing.com. She is the author of Somatic Maternal Healing: Psychodynamic and Somatic Treatment of Trauma in the Perinatal Period (Routledge, 2023).
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