Tag: Sheila Kohler

Sheila Kohler’s Dreaming for Freud and Stealing from Case Studies


Friends, after writing my piece about her story “Magic Man,” Sheila Kohler was kind enough to bring her novel Dreaming for Freud to my attention. (Do I wish I already knew about every cool book out there? Yes. Is it possible to read or even to know about every great novel out there? Sigh…no.)

Great Writers Steal readers (and anyone interested in writing craft) would do well to take a look at her book. Why? Because Ms. Kohler is a good writer and an interesting human being.  Sure. Why else?  Because she has “stolen” in the most magnificent manner, in a way that we should emulate.

Dreaming for Freud is a fictional retelling of a real-life story, that of “Dora,” one of Sigmund Freud’s patients. (Ms. Kohler has an advanced degree in psychology in addition to all of her other accomplishments…go ahead. Be healthily jealous.) The case itself looks very interesting and has a lot of significance in the field of psychology. Dr. Freud-get this-talked to Dora about her life and used his experience with other patients to figure out the specific problems that were holding Dora from happiness.

Freud wrote up his observations and described the treatment he provided in a case study that subsequently became a controversial milestone in the field of psychology. I’m having trouble finding a public domain copy of Freud’s writings about Dora in English; it looks like the English translations were completed decades after Sigmund put dip pen to paper. I did, however, find what seems to be Dora’s diary.  Is your German better than mine?  Check out “Bruchstück einer Hysterie-Analyse” as Freud intended.

Ms. Kohler used the real-life story as her starting point for Dreaming for Freud; Dora and her relatives are all characters in the book, breathed to life by the author’s muse. Although based on the factual case study, Dora and Herr und Frau Z. are rendered in fiction.

Why is the book’s conceit so cool and such a good idea on Ms. Kohler’s part?

  • The story itself has a lot of inherent natural conflict. A young woman in turmoil. A world-famous figure treats her. The suggestion of something…interesting happening between a man and his wife.
  • You know…it can sometimes be hard to come up with stories. This one is offered to all of us on a silver platter. (Though you should wait a while to write about Dora; Ms. Kohler just did it.)
  • Sigmund Freud has a lot of name recognition. Readers are often willing to give a story a chance if they have an entry point.
  • It can be a LOT of fun to work with real-life characters or situations that already appeal to us. Each of us has our special, personal interests that we would like to share with others; writing this kind of work allows us to play in a favorite sandbox.

Have other writers fictionalized real-life stories? Oh yeah. Here’s Two of Us, a film whose writer decided to tell the story of a day in the life of Lennon and McCartney as they hung out several years after the breakup of The Beatles:

Did John really say all of those things to Paul? Probably not. Did you realize that the actor portraying John Lennon is the same guy who played Lane Pryce in Mad Men? Probably not. (It’s weird; I don’t know why.) As writers of fiction, it’s our job to spin reality out of fiction…people like Ms. Kohler simply start out with a little more “fact” in the hopper than J.K. Rowling when she wrote her Harry Potter books.

Here’s another example: As the Allies spent the Spring of 1945 closing in on Berlin, the evil Josef Mengele and other high-ranking Nazis did indeed find their way to South America. Decades later, rock star Nazi hunters such as Simon Wiesenthal did indeed dedicate their lives to finding these war criminals. Ira Levin used these real-life truths as a springboard for his novel The Boys From Brazil. (Thankfully, we have no reason to believe that Hitler was cloned.)

Lauren Weisberger was a personal assistant to a big-time fashion magazine editor.  She used these true experiences as the basis for The Devil Wears Prada.

The Bell Jar is, more or less, the autobiography of Sylvia Plath’s young adulthood.

Fear and Loathing in Las Vegas is the somewhat true story of Hunter S. Thompson traveling to Las Vegas.

You’re under no obligation, of course, to fictionalize your own story.  Ms. Kohler adapted a case study.  You can do the same.  Here are some examples from the National Center for Case Study Teaching in Science.  “Stealing” from case studies-provided you don’t violate anyone’s privacy, of course-is great because the mere existence of a case study means that a real human being has a problem.  The person in question has family and friends who care…there’s tension everywhere!

I happen to have read a few case studies recently; the psychologist’s prose also makes them great seeds for writers.  When composing his or her document, the mental health professional is doing what they can to write very clearly for colleagues.  You’ll get the basics: the protagonist’s age, family relations, relevant childhood traumas, problematic behaviors and the probable causes for those behaviors.  You’ll also read about the protagonist’s treatment and whether or not it worked.  You have the right (and perhaps the obligation) to use those basics as you will.

I am also reminded of another favorite story repository: court decisions.  I know…I know…these are all boring legal documents.  Except they’re not. Plessy and Ferguson were not just names you had to learn in middle school. They were real people who had a great story!  So the decision didn’t exactly go the right way for Fred Korematsu, but his honest-to-goodness struggle is a story waiting to be stolen and fictionalized.  (Why not put a manque of Mr. Korematsu in a work of science fiction?  Sadly, there will always be a “next” Korematsu v. United States, even if there are different names involved.)  A few months ago, I happened to pluck a law book off of a shelf in the library and read a harrowing story.  I only recall the broad strokes.  The case was deciding who was at fault for the death of a child.  It was something like 1919 in New York City.  The utility company turned on the gas in an apartment at a time the landlord wasn’t expecting, so the landlord hadn’t make sure the gas pipes were plugged.  The new renter entered his apartment with his son, struck a match so he could see around him and…well, you can figure it out.  (Interestingly, this was in the days before natural gas was spiked with mercaptan, the chemical that now gives it that tell-tale rotten egg smell.

See how many captivating stories are out there waiting to be stolen?  Why not pick up a copy of Dreaming for Freud?  And maybe discuss the novel with your book group?  And then pilfer a story of your own?


What Can We Steal From Sheila Kohler’s “Magic Man”?


Title of Work and its Form: “Magic Man,” short story
Author: Sheila Kohler (on Twitter @sheilakohler)
Date of Work: 2012
Where the Work Can Be Found: The story debuted in the April 2012 issue of Yale Review.  Elizabeth Strout and Heidi Pitlor subsequently chose the piece for Best American Short Stories 2013.

Bonuses: Here is the New York Times review of Becoming Jane Eyre, Ms. Kohler’s 2009 novel.  Ms. Kohler writes a column for Psychology Today.  You can find her essays here.  Here is what Karen Carlson thought of “Magic Man.”

Want to see Sheila Kohler and Edmund White discuss fiction?  Say, “Thanks The Center For Fiction!”

Element of Craft We’re Stealing: Classic Forms

The story is not very long, but it is powerful.  Sandra and her children live in Europe, but they are on vacation in South Africa.  She has three daughters; S.P. is the oldest, but Jessamyn, the youngest, is Sandra’s favorite.  Ms. Kohler releases the story in an interesting fashion.  While the whole story is told in the third person, each section alternates between a third person narrator limited first to Sandra’s perspective and then to S.P.’s.  Sadly, the story is a kind of cautionary fairy tale.  Eight-year-old S.P. wanders off for a bathroom break and some alone time.  Unfortunately, it doesn’t work out that way.  (I’m being vague because you should just read the darn story!)

Ms. Kohler notes that the story was inspired by “Der Erlkönig,” a poem by Johann Wolfgang von Goethe, and the folk tales that inspired it.  It just so happens that I have a history with that poem.  In fact, it’s one of the few that I have committed to memory.  (That list is pretty much limited to “Der Erlkönig,” “To Be or Not to Be” and “Two all-beef patties, special sauce, lettuce, cheese, pickles onions on a sesame seed bun.”)  Frau Coulter (rest in peace!) had us memorize the poem in first-year German.  She was right; my interactions with German have all related to “Der Erlkönig” in some way.

Goethe composed the poem in 1782 and Franz Schubert famously used the text in one of his lieder.  Many a young person has sung this song in school voice lessons and competitions.

Frau Coulter led us in numerous group readings of each stanza and tested us on solo recitations.  I guess “Der Erlkönig” was primarily a homework assignment at the time, but I loved pronouncing the strange words that were made up of such exotic sounds.  I loved the rhyme and the meter.  And I loved the story.  The poem begins “in medias res:”

Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er faßt ihn sicher, er hält ihn warm.

What does that all mean?  Goethe’s work is in the public domain.  Many translations are not.  I therefore present my terrible, awful translation of the first stanza:

Who is that riding through the inclement weather so late at night?
It is the father with his child.
He has the little boy wrapped safely in his arm,
He holds the boy tightly, he keeps the boy warm.

The existential threat is out there in Goethe’s work, nipping at the heels of father and son.  The same is true in “Magic Man.”  Little S.P. tells her siblings stories about this supernatural, fantastic creature, a man who can turn you into a toad if he likes.  (Perhaps a reference to Der Froschkönig?)  S.P. is being pursued as much as the boy in “Der Erlkönig” was.  We meet the “magic man” through her perspective; he’s as charming and persuasive as the titular villain of Goethe’s poem. The Magic Man tempts S.P. with the prospect of playing with his lonely son, just as Der Erlkönig tempts the boy with his daughters:

“Willst, feiner Knabe, du mit mir gehn?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Reihn,
Und wiegen und tanzen und singen dich ein.”

My terrible translation that is so bad that it’s better termed an “approximation:”

Will you come with me, you fine little boy?
My daughters will take care of you.
My daughters lead the dances at night,
And they will cradle, dance and sing with you.

In “Magic Man,” Ms. Kohler appropriates the form of the fairy tale.  See how close “Magic Man” is to a Grimm Brothers story?  To a Hans Christian Andersen story?  (And to “Der Erlkönig”?)  Now, the Magic Man is the only “conceivably supernatural” element of the piece, but many other fairy tale conventions are present:

  • A child who is old enough to be a little independent
  • That child leaves the safety of parents/home
  • The child goes on a journey through nature all alone
  • The child encounters some kind of danger while on his or her own
  • The antagonist demands something of great value from the protagonist

What’s the overall lesson here?  “Steal” these classic forms and bring them into the current day.  Where would you put a contemporary Hansel and Gretel?  I’ve always wanted to write some story inspired by “Unter der linden.”  (Although I’m guessing it would be more of a romance.  One hopes.)  The specifics of any form may change, I suppose, but many thematic concepts will remain constant.  Think about horror movies; the big baddies change depending on society’s great fears at the time.

Most of the story is told in the present tense.  This is a wonderful choice for the kind of story that Ms. Kohler is telling; it’s a young girl going out into the woods to meet a kind of monster.  Ms. Kohler ends the story with an interesting move, violating the structure she established.  In the last section told from the third person narrator limited to Sandra’s perspective, Ms. Kohler makes a leap from the present to the future simple tense:

Years later, she will remember that moment of rage…and she will feel the rage again…she will feel…

Ordinarily, switching tense or perspective is a mistake.  It’s up to the writer to make the switch “okay.”  Ms. Kohler makes the POV switching okay by adding white space between sections, thereby informing the reader of what she’s doing.  I like Ms. Kohler’s tense change because it comes near the end of the story and it doesn’t contain a great deal of action.  It makes sense because the emotion of “rage” certainly fits with the emotion the reader has when thinking about S.P.’s situation at the time.  Perhaps most importantly from a writing perspective, this tense change makes the next one okay.

The last paragraph, according to the rules Ms. Kohler established, is told from Sandra’s perspective:

Years later, when her sister is dead, killed by her husband driving the car off the road, her child will tell her the whole story…

Now THAT is much more of a quantum leap than the last tense shift, right?  Stuff happened!  The characters do more than just feel emotions.  Ms. Kohler prepared us for this leap, making it feel perfectly natural.

Tense and time shifts are perfectly valid storytelling techniques; they just need to be employed properly.  Think of one of the finest films in cinema history:

Demolition Man begins as John Spartan is trying to rescue hostages that are being held by Simon Phoenix.  Spartan fails and he is blamed for the dead civilians.  Both Spartan and Phoenix are cryogenically frozen for their crimes.  The narrative of the film simply jumps ahead 36 years.  Are we mad?  Nope.  The director gives us a million clues to let us know that things have changed.  (Just as Ms. Kohler eased us into the possibility that she would zip into the future in the last paragraph.)

What Should We Steal?

  • Create modern examples of classic forms.  Contemporary folks may be a little less likely to believe in witches, but we’ll always have equivalent figures.
  • Prepare your reader for the judicious changes in tense and time frame that you make.  Your narrator can take us anywhere and anytime…so long as your changes make sense.