The most recommended Sigmund Freud books

James Hillman is the kind of writer you sometimes have to stop, think and re-read, to work your way into what he is trying to say, but it repays the effort because what he says is always interesting. This book, about fantasy and imagination, explores the idea that we are more than our personal story, more than ego and self. For me as a writer, it changed the way I see the creative process, with imagination not being something we need to spark and drive, but a space we already inhabit. Imagination is our essence; we are the dream.

This well-written, tightly-argued little book of 1995 gathers together four feature articles from The New York Review of Books that together represent a watershed moment in ‘Freud Studies.’ For here was the NYRB, a long-standing bastion of psychoanalysis, publishing splashy articles that functioned like a Hollywood expose of Freud’s failings as a man, thinker, and therapist. In truth, Crews was simply giving voice to a ‘revisionist’ portrait of Freud that started in earnest in the wake of Jones’s three-volume ‘life and work’ of Freud (1953-57). Best of all: Crews connects it all to the ‘recovered memory’ movement of the 1980s and 90s, thereby drawing a  disturbing portrait of Freud’s legacy.  

I chose this book for a trip because it’s compact (easy to pack) and brimming with psychology facts.

Instead of staring at the plane’s ceiling for hours, I disappeared into a fun refresher course on the core ideas of psychology. It’s a great read for anyone who wants to brush up on their foundational concepts in a way that feels natural and entertaining.

Freud gets a bad rap for a lot of things, and I’m on board for a lot of that criticism (for a great analysis of Freud’s major flaws, see my recommended book by Irvin Yalom below). But no matter his faults, Freud was a fantastic examiner of human behavior, of the little things in our daily lives, in our speech, in our dreams, that can contain meaning and give away our true feelings, our true motives. I read this book at a young age, and found it so elucidating about so much behavior we see around us every day, and from ourselves. It was also probably a key factor in my early interest in psychology.

This is one of the classics in the field. I choose it not because I agree with all of it but because it has made such an impact and has such an ardent academic following. Girard picks up a thesis propounded by Sigmund Freud that symbolic expressions of violence in religion (the eating of Christ’s body and blood in the ritual of the eucharist, for example) helps to defuse real acts of violence. Girard regards mimesis—the imitation of the desires of a competitor—as the driving force behind violence and the instrument that is tamed through symbolic expressions. 

This is the first novel by Modiano, who won the Nobel Prize for Literature in 2014.  It has been translated into English but with a French title, which contains a pun that can’t be translated (referring both to a location in Paris and to the infamous badge imposed by the Nazis). A darkly comic and shocking send-up of French antisemitic literature, the novel features a clownish protagonist named Raphaël Schlemilovitch who embraces every antisemitic stereotype imaginable, becoming in turn, a cosmopolitan, a traitor, a collaborator, and a pimp before winding up on the couch of Sigmund Freud begging to be put out of his misery.  Modiano wrote this novel to exorcise the demons of French literature and it helped him carve out a place as a distinctly Jewish voice in the French literary pantheon.

Wood’s book Hitchcock’s Films made the case that Hitchock was a major artist, not merely a manipulative “master of suspense” but someone who reflected profoundly on human limits, power, and authority, comedy and tragedy, men and women. He paved the way for later critics like William Rothman, who demonstrated that Hitchock’s films were richly rewarding frame by frame. Wood is always attentive to the human value of the movies he discusses, inquiring into the world of each film and wondering what it has to tell us. His book is great fun, but at the same time, it takes Hitchcock seriously as one of our deepest contemporary artists.

Rieff wrote this book in 1966. It is prescient in seeing the coming of what we now call ‘therapy culture’. It must be read to understand the profundity of the changes that we face over fifty years since it first appeared. He describes the collapse of traditional values and beliefs but sees nothing positive that could take their place. He warns of a fundamental shift in the entire continuity of our culture that is probably irreparable: ‘That a sense of well-being has become the end, rather that a by-product of striving after some superior communal end, announces a fundamental change of focus in the entire cast of our culture…’.  Rieff also warns that those who seek therapy cannot move on. They seek more therapeutic recognition of their diminished state. To understand our culture today you must start here.

Two reasons for this selection: the setting cosmopolitan pre- WW1 Vienna with its glittering art world, cutting edge science, and murky politics, and the unusual sleuth, Dr. Max Liebermann, a young disciple of Sigmund Freud, who is called upon by his friend, Oskar Rheinhardt for particularly sticky cases. There are plenty of them, thanks to author Tallis’s background as a clinical psychologist. He embeds gruesome crimes in complex plots and constructs solutions of real ingenuity, in parallel with young Dr. Liebermann’s developing expertise and his negotiation of the tricky balance between modernity, science, and progressive developments and his more traditional, and beloved, Jewish family.

Sigmund Freud tends to be lampooned these days as a cartoonish patriarch, but psychoanalysis is one of the few genuinely insightful theories that tries to understand why people frequently do things they can’t explain, don’t understand, or don’t even want to do. Social psychologist Michael Billig’s book starts out by noting that Freud considered his greatest discovery to be not the unconscious (as most people think), but repression – the series of activities that produce the unconscious. The book is a clearly-written, practical exploration of how repression is accomplished in day-to-day life. An example: “Each time adults tell a child how to speak politely, they are indicating how to speak rudely”. Think about that.

This book fascinated me because it looks at creative accomplishments through the eyes and behaviors of many of the truly creative people who have graced our planet. The book discusses what made Albert Einstein so creative and how Sigmund Freud became the father of modern psychology. I came to realize that artists like Pablo Picasso, dancers like Martha Graham, and musicians like Igor Stravinsky broke the molds as they ventured forth into novel domains and areas where others had not yet dared to tread. I also learned that personalities are very relevant to many of these creative accomplishments and that many of these personalities do not fit kindly into what societies expect. It’s not that we should attempt to emulate these personalities but that we should feel comfortable leading with our most creative thoughts and actions.

I love the subversive title of this book. If there is no “heterosexuality” then there is no “homosexuality.” A challenging read, because of the subtle and complex reasoning Katz uses to untangle early erotic/procreative/love relationship concepts that were very differently structured from our own homo/hetero dichotomy. He uses history to show the slow development of the concept of heterosexuality, and that it is not “an essential, eternal, normal.” Katz draws on Michel Foucault regarding ancient Greece, on the Puritans, the Victorians, on Krafft-Ebing, Freud, and Alfred Kinsey, showing how language reveals the changing ways of conceptualizing and valuing differing modes of sexual expression. The critiques of Freud are a revelation.

This is one of the first books on prisons I ever read and it’s the one that got me hooked. It’s not just about prisons, though. Laboratories of Virtue is about the period during and after the American Revolution when the US moved away from colonial-era punishments into the beginnings of what we have today. It was a moment when we could have gone in a lot of different directions, but Meranze shows how we ended up with long-term incarceration as our go-to punishment for serious (and some not-so-serious) crimes.

He brings in developments in society generally, explaining how anxieties about theatre and crowds contributed to middle-class and elite reformers’ growing distaste for capital punishment and a preference for privately meting out punishment. This book is a great introduction to how punishment and penal trends are the products of changes in society and perceptions of crime, rather than a direct… show more.

I met Patrik Svensson at a book event in 2019, just as his novel was released and came away with a signed copy when I left. I brought it home and put it aside for a later read. When I finally picked it up, I was fascinated. This is another autobiographical story, this one about a little boy growing up in the southern part of Sweden. The father and son only really come together when they go eel fishing. The father teaches the son the elaborate technique of setting the eel traps and through this they establish a silent bond. Interspersed throughout the narrative are chapters with facts about the mysterious life cycle of eels. It is an extraordinary novel, unlike any other I have read. 

This book gives an excellent overview of Freud’s thoughts about human psychology, and also shows the way he thought. Freud’s brilliance shines through. I hasten to say most, though not by any means all of his hypotheses are wrong. I read this book at 15 and knew when I finished it I was going to be a psychologist. Some of my work gives strong support to a few of his hypotheses about the unconscious. Ironically, Freud himself didn’t believe his ideas could be tested by psychology experiments.

As a writer, I am always pondering the question of how our lives inform our work. As one of my fellow writers, Melissa Ostrom, put it, our experience is the rich compost from which we form our fictional narratives. To use a Freudian dream analogy, I like to think that our lives are the “day residue” of the work—elements from daily life show up in different contexts or transformed in some other way. The twentieth-first century has witnessed an explosion of so-called auto-fiction, fiction that more consciously underscores this process of transforming life into art—think of the work of Ben Lerner, Rachel Cusk, and Karl Ove Knausgard. This recently-released anthology, edited by Caitlin Forst, features work by established writers as well as new voices that interrogates the relationship between writer and text, between art and life.

In principle, psychoanalytic theory and practice rely on evidence adduced from the clinical case studies of patients. Freud, however, presented very few such cases. With this in mind, Borch-Jacobsen has done something of permanent importance to the field: he researched and wrote 38 ‘lost’ and unofficial case studies of Freud’s patients and gathered them all into one volume. The book as such functions as a shocking disconfirmation of everything we thought we knew about Freud the man, the theorist, and the therapist. And, best of all, it does so in plain, highly accessible language.  

This is another absolutely delirious book. One part detailed study of Freud’s most divisive concept, the death drive, and one part messianic call-to-love in the style of Nietzsche, I was very skeptical to begin with. But as I persisted, I began to see the charm and power of Brown’s project. He is someone who really wants to make history by talking about it in such grand terms. He wasn’t the first to try this, but there is perhaps a case to be made that he was the last.

Peter F. Drucker is the most famous and influential management thinker of the 20th century. He grew up in the Austro-Hungarian Empire, which fell at the end of the First World War. His classic education, his knowledge of history, his broad horizons, his understanding of business processes make him unique among management thinkers. He outshines them all. And he is an outstanding, captivating writer. Anyone who wants to learn and understand about management must read this book. I have read it three times. I mourn this late friend.

Dalí. The Paintings is one of the most complete compilations of works I’ve seen, and it includes the examination of one of the most prolific and controversial figures in art. Salvador Dali is a genius. He took his artistic skill and vision across so many different genres of the arts. The book is a fascinating journey into his mind and work. I learned a tremendous amount regarding composition, palette and tone decisions, and of course realism. I loved the idea that you can inspire the mind, leading it into new thought patterns by presenting something that is different or strange.