:\ ABIGATICN CF F

A‘

may con‘hue f0 '
n ! '

a; 1;," warm? to U”

1' 'yg‘?y?'¥g in OCC U03.1

 

fir is 59:50 problem; 9

'rl‘ ~
n .v- d

tmer ore suger
1 0 Q 0 '
rgessmos Im‘abzl:.‘y

‘.‘:E mm in incidenc

m :r:ss}ons, OI'TES‘S

w ' '

.. J: m as comers
Am 5‘ .
e “W? o‘femo‘ir-

Nu
. me?

11‘ *ens'uon
2.»; 1
Ned tone m0re deg

demerescidtober

,~ i!
.‘S‘i‘ev
5‘ .

era.

Tye” g,
£9: ml? ‘sion 5

y.
u H W-
hen 'efifiino {Q'-
n.‘. v

“MON“

‘l- 36c '
Onc‘.
?‘:‘:T;‘

 

. an:
/w|-efen§ 0'

2%. .
'95 erh «L

P. we in
:fi‘fr‘.‘ :e 1
\{i‘ ' ”me A
it». W‘s:

«3r
. We °f meme

ABSTRACT

AN INVESTIGATION OF PERSONALITY DIFFERENCES BETWEEN WOMEN WITH HIGH
AND LOW PREMENSTRUAL TENSION

By
Elizabeth Ann Walker Seagull

As women continue to move toward a more equal status in our society it becomes
increasingly important to understand those peculiarly female problems which may affect
their functioning in occupations and activities previously closed to them. Premenstrual
tension is such a problem; as existing research has shown, frdm twenty five to ninety five
percent of women are sufferers to some extent. Not only physical symptoms but behavior
changes such as irritability, depression, and impaired concentration have been linked
to the increase in incidence of accidents, suicide attempts, psychiatric and general
hospital admissions, arrests and child abuse by women during the premenstrual and early
menstrual days as compared with the rest of the cycle.

One theory attempting to explain these phenomena has been that women suffering
from premenstrual tension were more neurotic, or less well adiusted than non-sufferers,
and tended to be more depressed, irritable, and so on throughout their cycle. Furthermore,
sufferers were said to be more somatically preoccupied and hypochondriacal than
non-sufferers.

The present study attempted to investigate whether women reporting large numbers
of premenstrual tension symptoms appeared significantly more neurotic or less well adiusted
than women reporting few premenstrual tension symptoms, on standard projective measures
of personality. Secondly, the present study investigated whether these women appeared
significantly different on these same measures when administered during the premenstrual
as compared with the intermenstrual phase of their cycle.

fight female undergraduate subiects were selected from the extreme groups on a
pro-measure of premenstrual tension (Menstrual Distress Questionnaire, Moos, 1968).
Standard Rorschach and TAT tests were administered to four high and four low scorers
during the premenstrual and intermenstrual phases of their cycles, using a counterbalanced
design. In addition, each subject gave a close friend a questionnaire, designed by the

experimenter, concerning _S_'s behavior on that day. These were returned directly to the

investigator.

Ives? ITIO'Ty’ booties
i‘He ‘wo grows,
rust. 3i prance. Mas

Maia llfidfrgt
l. More TAT
In the pre'

2. More TA'
in the We

3. Three be?
Interact}:
lenslon E
lllgl‘ prev
Premenstr
Wllng hc
GCllvllleg
I“ le‘QCl‘ varicl:

I... .
£33319: '

° vlfectEOn .
l' A lllQ-lter
in the 1n.
2' A l'tlgl~,er
in Illa p"

The results were disc

‘-.'I
“ 2:5}. .

3"-
5

 

l'Iloppec»
mood QFjI

 

Chg"9e:
' No me.
high 0nd

 

 

Elizabeth Ann Walker Seagull

A great many hypotheses predicting which TAT and Rorschach characteristics would
distinguish the twa groups, and the MO cycle times, were tested using a multivariate
analysis of "variance. 'YMost of them were not-upheld.

Maior findings were:

I. More TAT stories with unhappy endings were told
in the premenstruum (p = .05).

2. More TAT stories with neutral endings were told
in the intermenstruum (p = .007).

3. Three behavior questionnaire items showed
interaction effects, with low premenstrual
tension is rated higher in the intermenstruum,
high premenstrual tension Ss rated higher in the
premenstruum: tense (p = .04), change in
eating habits (p = .02), and avoids social
activities (p = .02).

Two Rorschach variables differentiated premenstrual from intermenstrual records, but
in the opposite direction from that predicted:

I. A higher percentage of anatomical responses
in the intermenstruum (p = .05).

2. A higher percentage of good form responses
in the premenstruum (p = .04).

The results were discussed in terms of Sherfey's (I972) theory of premenstrual tension
as heightened sexual tension.

Conclusions were drawn that on the basis of the present study:

I. It appears that in premenstrual tension
mood and behavior changes, 2.2: personality
changes occur.

2. No differences were demonstrated between _Ss
high and low in premenstrual tension on
dimensions of neuroticism or adequacy of

personality functioning .

 

3. ilne Rorsc'r:

 

to be O'ge ‘

cycle phat.

 

 

3. The Rorschach and TAT protocols appeared
to be largely unaffected by the_S's menstrual

cycle phase.

AN l‘
lef
HlC-H

 

AN INVESTIGATION OF PERSONALITY
DIFFERENCES BETWEEN WOMEN WITH
HIGH AND LOW PREMENSTRUAL TENSION

By

Elizabeth Ann Walker Seagull

A DISSERTATION

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Psychology
I973

1A3.}"."i"?§.’.\‘:?3‘ V' 11"“ HQ”!

llupnzis 1n lanV nnA rltsdoxili

ot bettimdua
\{tle‘levan 91012 nrJQirluiM
etnsmetiupm erlt to tnemllillul loitma ni
lo setgsb erlt toi

YH‘I’D VDJ lH‘l 30 ROTDOG

\ :30 l o.'l3\ .‘"l to tnnmt 190.9 CI

*"fzt
I

 

 

 

TO MY PARENTS

 

l'e 3:410! VISITS
zen: lie-lo in of'

readiness in the

     
    
   
  

:nfri’e sfudies.
..Io '
:. .ere “howls are

-' ‘IE'Et‘ Icrclay, “

"gas ‘3 Help w?"
ire.
v’ttmhibutlon o
343 ‘3? Have been
li'fl ta ' '
- . Ilse CltI'IICOl

...:;s‘-.sairit. The a

r] .
«I

 

ACKNOWLEDGMENTS

The author wishes to express her thanks to Dr. Bertram Karon, not only for his
interest and help in all phases of the present investigation, but for his contribution
to her education in the field of psychology over the course of nine years of undergraduate
and graduate studies.

Sincere thanks are also extended to the other members of the author's committee,
Dr. Andrew Barclay, Dr. Bill Kell, and Dr. Dozier Thornton. Dr. Barclay's untiring
willingness to help with the statistical analysis of the data is acknowledged with especial
gratitude.

The contribution of Dr. llona Engel to the present study was of such magnitude that
it could not have been carried out without her. Dr. Engel's donation of untold hours
of time to the clinical interpretation of the proiective test protocols is a tribute to her
unselfish spirit. The author finds words inadequate to express her thanks for the perform-
ance of this formidable task.

Though the subjects of the present study cannot be named here, thanks are due them
also for their willing participation in the research.

The author would like to thank Dr. William Weil, chairman of the Department of
Human Development at Michigan State University, for his understanding and encourage-
ment during the time when the author was struggling to complete this research while
holding a full time position on the faculty of his department. His understanding attitude
made the task much less difficult than it might have been.

A very special expression of thanks must go to my secretary, Phyllis Finger, who
struggled long and valiantly with the peculiar requirements of tables and margins, and
to her predecessor, Lenore Shebuski . I also wish to thank all the others who helped with

the typing in various stages, especially Pamela Watkins and Bonnie Mollenkopf.

”m": also m'
elmrner‘ of 95;:

f‘ll. ‘ .ld

a“ I, WOMM -
ass-amiss. 530::
:zeecme of his.
. 'l a? ,
f‘;:ze:3r;'7::>u,,3 .

merrierofior :-‘

 

The author also wishes to acknowledge the financial support made available by

the Department of Psychology for this research.

Finally, I would like to thank my husband, Dr. Arthur Seagull, for his willing
help as sounding board, clinical rater, critic, proofreader, and empathic listener
over the course of two years of work on the present study, and for his innumerable

intangible contributions toward the state of happiness and well-being that made

possible my devotion of time and energy to this research.

Ru!“ f'vrfi
v l..."\..lyl
n o9 A t “'1
s.’ ' VNE K:'

Felm‘m :
“memory of :

lest.
hirerce

" l s
s. --
~ 303ml ire

 

TABLE OF CONTENTS
INTRODUCTION '
CHAPTER ONE: REVIEW OF LITERATURE

The Symptoms of the Premenstrual Tension Syndrome:
A Summary of Findings

I. Physical S ymptoms

II. Psychical Symptoms and Behavioral Changes
Death

Incidence
Etiological Theories
I. Menotoxin
II. Vascular Spasm
Ill. Hormonal Theories
IV. Psychosomatic and Somatopsychic Theories
Treatment
Oral Contraceptives and Premenstrual Tension
CHAPTER TWO: STATEMENT OF THE PROBLEM AND HYPOTHES ES
Problems
Hypotheses
CHAPTER THREE: METHOD
Subjects
Measures
Procedure
Method of Analysis
CHAPTER FOUR: RESULTS
CHAPTER FIVE: DISCUSSION
Overview
Sample Size
Unrepresentative Subjects
Measures
Basic Assumptions
Implications
LIST OF REFERENCES
APPENDIX I
APPENDIX II

I00
I00
IOI
I03

I05
II2
I24
I33

'. Freqmsy o‘

' [Nelson 3

. I‘a'c'eiwq 0‘

I- . -
. CIZPIC'OT‘. pt:

I' ' I
. enmcaoe 323‘

u. Cllnlfilgn ROI

Con'rccep‘i .

h
tremenstruw

F

I} " I o
WEI-113 es Ir

arr-l llle liver
EemCl'kS and

H'Qo‘ltesis I

 

 

 

 

PIOI'DCO S in
HYPC-‘leSes
7- lot~

C. .4,

U‘

ji

.Cw

sls of Clit

' CWDO'ISon E

002 line liller

" " UUn

loc'lson

Clint '

cth RC
qTLDDI'ISQn
Ills
0 ' .
H‘QP t

H ‘

LIST OF TABLES

Table Page
I. Frequency of Deaths in Various Phases of the Menstrual Cycle . . 2l
2. Matching of High and Low MDQ Scorers on Age, Use of an Oral

Contraceptives and Menstrual Cycle Phase of First Testing . . . . 57
3. Clinician Ratings of Subjects High and Low in PMT in the

Premenstruum and Intermenstruum, (Hypothesis I A) ........ 63
4. Clinician Ratings of Subjects High and Low in PMT on TAT

Variables in the Premenstruum and Intermenstruum (Hypothesis I C) . . 67
5. Comparison of Women High vs Low in PMT in the Premenstruum

and the Intermenstruum on Total Number of Self-disparaging

Remarks and Requests for Instructions from the Examiner

(HypothesisID)...... .......... 68
6. Clinician Ratings of Overall Functioning on Rorschach and TAT

Protocols in the Premenstruum and the Intermenstruum

(Hypotheses II A I and II B I) ................... 70
7. Totals of Clinician Ratings of TAT Variables in the Premenstruum

and Intermenstruum (Hypothesis II B 2) ............... 73
8. Comparison of Clinician Ratings of Each Subject in the Premenstruum

and the Intermenstruum (Hypothesis II C) ............. 75
9. Comparison of Self-Rating Depression Scale Scores in the

Premenstruum and Intermenstruum (Hypothesis II D) ......... 76
I0. Comparison of High vs Low PMT Subjects on Fluctuation in

Clinician Rating with Cycle Phase .................. 78
II. Comparison of Users vs Non-users of Oral Contraceptives Who Are

Also High in PMT in the Premenstruum and the Intermenstruum
(Hypothesis IIIA) . . . . . . ................... 80

vi

in Z

'2, Corw'Isor

(5:

II I I
{lig‘fJJ'WES IS

.. Corm'Tsor

. Crw'iser

- (Twins

' Coral-‘30,;

I
:Am Car-
0‘ VIUI 'v'

or “lac-use.

ln‘emer-sr _

User: or N3.

0": ll’te l-"l

 

 

finch"; l"

‘ NUTS? all

on: NOW-us

Ike ln’e’mE

. SCQres Oi L

5e

 

:42 ..
Git“:
\

l'l leMIE'tS II

I CDI’ImerOr

Am‘DUfil of
I I
ISO'

C‘T’Cle Pkg

Sugsesttw

. I‘

Absfilure l
S

Cole Wit!

Table

I2.

I3.

I4.

15.

I6.

I7.

I8.

I9.

20.

Comparison of Women Low in PMT Who are Users or Non-users

of Oral Contraceptives in the Premenstruum and the Intermenstruum
(Hypothesis III B) ..........................
Comparison of Rorschach Scores of High PMT Subjects Who are Users
or Non-users of Oral Contraceptives in the Premenstruum and the
Intermenstruum, Suggestive Findings (Hypothesis III C) ooooooo
Comparison of Rorschach Scores of Low PMT Subjects Who Are

Users or Non-users of Oral Contraceptives in the Premenstruum

and the Intermenstruum, Suggestive Findings (Hypothesis Ill D) . . .
Comparison of TAT Scores of High PMT Subjects Who Are Users or
Non-users of Oral Contraceptives in the Premenstruum, Suggestive
Findings (Hypothesis III E) .....................
Number of Questions and Self-Disparaging Remarks Made by Users
and Non-users of Oral Contraceptives in the Premenstruum and

the Intermenstruum (Hypotheses Ill G, III H) ............
Scores of Users and Non-users of Oral Contraceptives on the
Self-Rating Depression Scale in the Premenstruum and the
Intermenstruum (Hypotheses III I, ”I J) ...............
Comparison of Users and Non-users of Oral Contraceptives on
Amount of Fluctuation in Clinician Ratings with Cycle Phase
(Hypotheses Ill K, III L) ......................
Comparison of Absolute Fluctuations on Rorschach Variables With
Cycle Phase Between Users and Non-users of Oral Contraceptives,
Suggestive Findings (Hypotheses III K, III L) .............
Comparison of Users and Non-users of Oral Contraceptives on

Absolute Fluctuation of Scores on the Self-Rating Depression

Scale with Cycle Phase (Hypotheses ”I K, III L) ..........

vii

Page

BI

83

85

88

90

9I

93

94

F43

. Ber-air =9 '

a
‘U

 

 

Table Page
2I . Behavior Rating Questionnaire Variables Showing Significant
Effects, ,3 < .05 ....................... 97
22. Behavior Rating Questionnaire Variables Showing Significant
Effects, .05<p< .10 .................. 98
23. Comparison of Subject's Scores on the MDQ Before Selection
and at the Conclusion of the Study ------------- IOI

viii

"are is now 0 c:
rat's: clutges W“
3::zzmwiec' by 3
trier n: OHS;

.. o 0 0|
31‘. ll) l't-CZSE' Ce

 

rid: amidst-SI 5
:::-".te i.“ ge'erc"
7:':“"e<. brisgifig
tale as): arior to

Izsraarjing t
Err-tare sect. as i
7?;5 effing .‘r:
Earl) menst'ugl
333, 3nd increase
Islet 35,5 a

I

yoe o

INTRODUCTION

 

There is now a considerable body of research showing that the regular monthly
endocrine changes which women undergo as a part of their normal reproductive function
are accompanied by a host of other cyclical phenomena, both physical and psychical,
which bear no obvious connection to menstruation. Included among these are the sharp
increase in incidence of: hospital admissions due to acute illness, both mental and
physical; accidents, suicide attempts and death from these causes; crimes of violence
and crime in general; death from circulatory disease; disobedience among schoolgirls;
and mothers bringing their children to the doctor for minor sniffles, which occur in
the few days prior to menstruation and the first few days of menstrual flow.

Accompanying these behavioral changes, and others well known to men and women
everywhere such as increased irritability, tension, depression and lethargy, are physical
changes resulting from the change in hormone level and balance during the premenstruum
and early menstrual days. Among them are found increased water retention, hypogly-
cemia, and increased capillary fragility. Although there is great variation in the
severity and type of cyclical physical and behavioral symptomatology from one woman
to another, almost all women experience at least some symptoms to some degree. At
one end of the continuum are women periodically severely disabled due to epilepsy,
psychosis or severe physical illness in association with menstrual cycle phase. At the
other, are those who experience only slight discomfort.

A good deal of controversy surrounds the question of whether such cyclical
phenomena are predominantly physical or psychic in genesis. The weight of evidence
so far seems to indicate that both body and mind, if, indeed, one can separate them
conceptually at all, play an important role in the origin and perpetuation of menstrual
symptomatology, with psychic determinants more important in some women than others.

As the feminist movement continually increases the reality of the equal status of
women in our society, a concern that is voiced again and again is that since women
are periodically irrational, flighty, or lacking in good judgement at monthly intervals
corresponding with their menstrual cycle changes, they cannot be trusted in sensitive
and responsible positions in the public and private sectors. The present research will

attempt to explore the nature of such seeming changes in personality at different times
I

+9 erstml cyc 3:
If! IILIO '99:)” L‘.'

rtee vile reoo"

 

st 922 to Be n:

 

in the menstrual cycle through the use of projective techniques and ratings of behavior.
Women who report high numbers of symptoms of premenstrual tension will be compared
with those who report few symptoms to see whether the women high in premenstrual

tension tend to be more "neurotic", as has been suggested.

CHAPTER ONE
REVIEW OF LITERATURE

Tire meters“ .
'11. i: "III, who?

:I'. {messed and“.

 

2:32 mo‘m he I
gal :a‘egories: l
fins-.25 SUCI‘. as i
“room 2.
te's'ec’ 0 day or
1"":I ”grave systt

up": , t
- sea ‘I'EEVISEIVI

.. u
*3. "an 4.6
em.

REVIEW OF LITERATURE

 

The premenstrual tension syndrome was first described and named by
Frank, in I93I, who felt that abnormally high levels of "female sex hormone"
due to increased production or decreased excretion was the cause of the
cyclical symptoms he observed. He believed that women fell into three
general categories: I. Those normal women who suffered minor premenstrual
disturbances such as increased fatigue, irritability, decreased concentration
and slight pain. 2. A group whose premenstrual symptoms, primarily pain,
necessitated a day or two of bed rest each month. 3. A group of women

in which "grave systemic disorders" such as epilepsy and bronchial asthma
manifested themselves periodically, premenstrually. Symptoms were diverse,
ranging from edema to increased sex drive to severe tension of a suicidal
nature. What they had in common was their onset from seven to ten days
premenstrually, with complete relief usually occurring within a few hours

of the onset of menstrual flow.

Since that time a host of periodic premenstrual symptoms have been
reported and almost as many explanations proposed. As Dalton (I964a)
points out in her excellent review, the name "premenstrual tension" is
somewhat unsatisfactory, because similar cyclical symptoms, which may
have the same etiology, occur in some women around the time of ovulation
or during menstruation, rather than premenstrually. In addition, the
syndrome may persist beyond menopause or after hysterectomy or ovariectomy
(Greene and Dalton, I955; Kramp, I965: Thomas, I933), and in a few
cases periodic symptoms of this sort have their onset at menopause (Greene
and Dalton, I953, I955). Overall, the picture is one of confusion.

The only sure sign that a complaint is to be included under this rubric is
its regular monthly periodicity.

I 1 a
.’ 4
.l r r
l l

I‘m-MI mini llnl narrow frsr’t bevelled 9H

lt/‘IJ'I‘IZTIGTTIS‘IQ TorIim beTellue or-‘w nnmnw lorrTon snarl" .I

to 6251?)"; 9"

”l 27;. // r'clte'ste

 

;-9?O9‘IDE‘

noitmtnsanoa beeamoeb ‘ vii l ic'oi iTTi

.IIina vli-mrniTa \amotamve lomtanomrna Isznrlw rum-II» A . x

tI“ItI('tVV ~l0 (IUO‘IH A

p

T)"

To noitezIboTa lmrrmwm‘vi ot "l'l‘

—/-- I-r 1 fl~—' Q ‘\ "t\ r“ ‘
— - \-— — \~ V,
_/i _, “.I,_ _ _ I 7 \
~ '- rrv lar - re r r - l»~.~J-Im m ru A; CT
I j I, -j IOI-1“ l’. '0‘? ‘3 ‘4 “l ; {3...5‘1c4 x‘
j I s ‘l \ l I , I, ,j. 2 f‘ f'“ r
(-r’ ./l zen-signer: 12": ‘l i.‘ Oh“, ‘i C! n

v a
,VHI‘T‘I

' O
.li‘QV‘If‘ZCTO (WI amotqr‘rr\'.' lrx‘nl \s. \

T."HIH?"‘III‘ I lI-tncmji

a I l .
,‘T‘UTFI‘II‘I l“\37"t‘l.’)ttt .‘H II III.‘ .‘fi IIHuiIIIirrI-

(\

q

I‘lltvllfl It‘l;l,)tI(\1~.l Imp yersliae 20 rlauz ”eTelrvToei'c» airnr‘rtew "IA/m?"

swarm III a t-ww

I. .-
lwf-x b|ltf l'

_,.
\\ ‘ I
'\
..
'\
‘\
\
Til,
'I
II‘

C W
.'-~‘.:_\IIIII'.\;.

'-\" -3
:\~.

\ l‘

I

.‘ ‘

t

MIfVI!

[I -t j ’ ‘ jI -
. ‘ _ .\,'. \ “ '.‘ .l j, r‘. .n r. ’v“ “p,
, V! I .I‘ . >~ \ \\‘D j ‘u\ .VII 2' C: e -.
I e 1. r
\“ r\ w | ‘qu «\L‘Kfi 1" C?’ r f_ Pd" ’r
. \ w , ._ .
I .A
r x 9* Ox ~ :~~ v v'acv afi‘ /
1' ~\ I S x ‘ ‘v
I I .
I ‘l\ \ ‘ ar- ‘ 1 fi\~~' \ ; ~r\ :_ It‘l- ~‘_<
\ \ \~ ‘ ~ - —
‘ s- \ ‘ ‘ « ~ ‘ - q a-» F A
u - :~ 7. \t' .. e ,, ; ‘ -
,1 \ \ \ \ ~ ‘1 - “
r ‘ \ \‘ ‘ \ h
\\ ‘ H ‘
I
a q . s , I ‘ I \ \
' ' y e x
1’ ‘é'JU‘l'I‘I‘J’ZIt I‘I Iv '1‘ ' ;‘ .2 ., s .' ‘.
- \s. . \’ ‘ ‘ e .u 0. y ‘
, '. «I \ I _' . K
- ‘s, s a a s ‘gv e, ‘ ._ v,~ .
t I . ‘ l I I .. .
\ ‘\ ‘ . ‘ Q
- - - « s t"
I c I- - .. -I _
t I ~. I -
’-‘ : ." '(.\"I - I ..| O V'.Q : T‘ Il‘ Q -(-. :j'
c o' o '
. ‘ r a - '0 't‘ ‘-
./IIH.NIII‘)(I‘. !.lIII . .,~

lla‘LIszn-pmmn

.':\\x

o I I. I
..\'ll:>3I-LT=OI*190 as.)‘.ll€a2rvz'sr'-" r'

o I. l I)
‘3.) rw #:er = e to: ‘

rl’

l.
)1!

.IIIINI Illjlll.‘ l-III-
I l '-
. -, .t“‘lfl0m H.309 ‘IZQ'I 594110 OW'I 'In VIII) is lmlrnrsxa mu

.1 .
)I."V'/ ill

")llfl"1fii

. v . a I j a , I u
w. 't.‘I‘."' “t"‘.' w or avmh \F? twaztte‘nr‘tl C‘ C:‘-".C3f3€~ ‘T‘O'Il enigma

'1'“ I if)"

L5

 

I. Wrer re‘er‘i:

 

furiously des:
‘res'or "edema ”,
mt, his is a moi:
halved, though 2
Aend Henry, 19j

.x; lsder. and Uzi
m‘z'C'Russell, 19.
“I; l

mk,1931;
rel-ill, I953; Ke

3.". P

. T

if?! ll

mfilngfan I IS

 

 

 

The Symptoms of the Premenstrual Tension Syndrome:
A Summary of Findings

 

l . Physical Symptoms

 

A . Water retention

 

Variously described as "swelling", "turgidity", "bloating", "pelvic
fullness " or "edema", and often accompanied by pain, especially in the
breasts, this is a major premenstrual complaint. Any part of the body may
be involved, though breasts and abdomen are most often mentioned.

(Allen and Henry, I933; Argenz and Abinzano, I950; Atkinson and Ivy,
I936; Baden and Lizoano, I963; Bickers and Woods, I95Ia, I95Ib;

Bruce and Russell, I962; Coppen and Kessel, I963; Ferguson and Vermillion,
I957; Frank, I93I; Greenblatt, I940; Greene and Dalton, I953;

Greenhill , I953; Kessel and Coppen, I963; Moos, I968, I969b; Morton,
I950; Pennington, I957; Rees, I953a; Stieglitz and Kimble, I949;
Sutherland and Stewart, I965; Sweeney, I945; Thomas, I933).

1315! may accompany this bloating (Bickers and Woods, I95Ia, I95Ib;
Rees, I953a; Sweeney, I934; Thorn, Nelson and Thorn, I938) , as may
infrequent urination (Morton, I950; Sweeney, I934) . Oddly enough,
urinag frequency is also reported as a premenstrual symptom (Pennington,

I957 ; Sutherland and Stewart, I965) .

Significant weight gain, usually attributed to water retention, and
often accompanied by obvious swelling is frequently reported as a symptom
of premenstrual tension. The amount gained varies from woman to woman,
and though most women experience this symptom to some extent, in extreme
cases the premenstrual weight gain may be as much as ten or twelve pounds.

It is usually lost during the time of the menstrual flow, sometimes accompanied

by prodigious micturation. (Bickers, I952; Bickers and Woods, I95Ib;

31:: :T: ussell, I"

an ‘Dl |
.I, rt3'
V") 135' IJU f

 

n: \‘elsefi 3"“: .
3 Pain
Headache IE

I I'll
we: n: W 003.

: .u; s I‘
35732.1 TET'ft‘sl

   
  

3.333 pcln, qe'er
:narenrely, pre
h .l I

.‘r teach (my

’o‘ I

.r 2"ectly resl

 

'fizelulcr water rel
'h-s-l I
....tes. {Altman
1352.12 Woods l'
I
rmlr, l93l;
‘3 I
,m.
. Moos,
Ell»
.sle, I929).
D
ysmenorrhe

3???» l
--'LC:pqm. S

”’T‘nl te. '
‘ flSlon’ wl
'9‘" JUS? as wit

‘. j
._ mu
:b-j'j '
'el Pllmer

3““ tj
“a:
. Emma:
* ~21 and Liz
"in: I94] I
's. I Sic

3‘35, ”57; S

6

Bruce and Russell, 1962; Ferguson and Vermillion, 1957; Greene and Dalton,
1955; Moos, 1968; Morton, 1950; Stieglitz and Kimble, 1949; Sweeney, 1934;
Thomas, Nelson and Thorn, 1938; Williams and Weekes, 1952).

B. Pain

 

Headache is one of the commonest of the premenstrual tension symptoms
(Bickers and Woods, 1951a; Bruce and Russell, 1962; Coppen and Kessel, 1963;
Ferguson and Vermillion, 1957; Greene and Dalton, 1953; Greenhill, 1953;
Healey, 1928; Israel, 1938; Moos, 1968; Pennington, 1957; Rees, 1953a;
Rubenstein, 1942; Stieglitz and Kimble, 1949; Sutherland and Stewart, 1965).
Low back pain, general aches, breast pain, abdominal cramps, aching thighs
and, more rarely, premenstrual arthritic and neuritic pain are also reported.
Often the pain accompanies swelling and many authors believe that water re-
tention is directly responsible for the pain. In the case of headaches, for example,
intracellular water retention would increase intercranial pressure, resulting in
headaches. (Altrnann, Knowles and Bull, 1941; Argonz and Abinzano, 1950;
Bickers and Woods, 1951a; Bruce and Russell, 1962; Ferguson and Vermillion,
1957; Frank, 1931; Freed, 1945; Greenblatt, 1940; Greene and Dalton, 1953;
Israel, 1938; Moos, 1968; Morton, 1950; Rees, 1953a; Rose, ‘1948;'Stieg|itz
and Kimble, 1949).

Dysmenorrhea, or pain during menstruation, may or may not accompany
premenstrual pain. Some authors claim” is rarely found in women with pre-
menstrual tension, while others include it on their list of premenstrual tension
symptoms. Just as with premenstrual tension, there is a dispute in the literature
over whether primary dysmenorrhea ( i.e. , dysmenorrhea for which there is no
demonstrable cause) is a "psychosomatic" phenomenon. (Argonz and Abinzano,
1950; Baden and Lizcano, 1963; Coppen and Kessel, 1963; Greenblatt, McCall,
and Topin, 1941; Israel, 1938; Lamb, Ulett, Masters and Robinson, 1953;
Pennington, 1957; Schuck, 1951; Seward, 1944; Wittkower and Wilson, 1940).

 

' :‘l1l‘lle
'1 v
01
Mac describe

5;: Es crater oi fl
mgree ya grec
.3:3,19‘7' Ferg.‘

.VV'

3:1. .LI 1»
“v v ee'vjfl' 7

"5, 19530; F
. Gmfio4ntesc

 

Nevseo and
-_ j
€3,133. Peqfiiqct

. ‘ ‘J

1 ”613%.,
C
”e Qra' .

C . Fatigue

 

Also described as "tiredness", "lethargy", "drowsiness" or "weakness",
fatigue is another of the commonest of premenstrual symptoms, experienced to
some degree by a great many women. (Altmann, et. al . , 1941; Baden and
Lizcano, 1963; Ferguson and Vermillion, 1957; Frank, 1931; Freed and Kroger,
1950; Greenblatt, 1940; Greene and Dalton, 1953; Hegarty, 1955; Merryman,
Boiman, Barnes and Rothchild, 1954; Moos, 1968; Morton, 1950; Pennington,
1957; Rees, 19530; Rose, 1948).

D. Gastro-intestinal symptoms

Nausea and vomiting (Freed, 1945; Greene and Dalton, 1953;

Moos, 1968; Pennington, 1957; Rees, 1953a), diarrhea (Sutherland and

 

 

Stewart, 1965) and constipation (Ferguson and Vermillion, 1957; Sutherland and

 

Stewart, 1965) may all occur premenstrually, as may halitosis (Sutherland
and Stewart, 1965) .

E. Dermatologic symptoms

 

Acne is one of the commonest of premenstrual symptoms, and other

 

dermatologic lesions, such as cold sores and canker sores may occur also.
(Ferguson and Vermillion, 1957; Freed, 1945; Greene and Dalton, 1953;
Israel, 1938; Lawrence and Werthessen, 1942; Moon, 1968; Pennington, 1957;

 

Sutherland and Stewart, 1965.) Some women notice a change in wand hfl'
becoming either _o_i_l_y or _dl(Sutherland and Stewart, 1965) . Sutherland and
Stewart (1965) also report that 40% of the 150 women they surveyed experienced
periodic periocular pigmentation changes, but other authors do not report this.

Itching may be present (Rees, 1953a), sometimes accompanied by vaginal discharge
(Sutherland and Stewart, 1965) .

 

F. General impairment of health

 

Dalton (1964b) studied emergency hospital admissions, excluding those
due to accident, or for psychiatric reasons, and found that 49% of 174 women of
menstrual age admitted ‘. were in the four premenstrual or first four menstrual days.
Cases of acute appendicitis, urinary infections, viral infections and respiratory

disease were especially likely to be admitted in the premenstrual days. The early

ogm.‘ dovs Hod C
mm“; were _:
firm of the dis
r21. 555.5700! 3
5 cancer more :
"Hg" inciience c
135%.” 11911? 01 5'
£515: to Hemet
5*31110»! and c;
i'Li'Z‘ lair gf'er 1+.el

Among gerel

3513‘ F. and wI-I

 

‘tm‘ of fever in

$951.51.: aura”

31557331 flow.)
'Wincidence of -

'1A

W
'L‘ 18 may refle

um?
.5715, or may 1".

‘:

”31'”th it 3
:1‘1 '

d lBlSloncE

E... .

‘ ”the

.. rill; betwee.
“.x -

| 30 ”Omen n
f“455+

MI
4. . I

 

 

8

menstrual days had a high incidence of bacterial infections. Symptoms prominent

premenstrually were pain, fever and vomiting, while pain and hemorrhage were

 

 

 

often part of the clinical picture in the early menstruum. Dalton points out that
where premenstrual or menstrual symptoms are present, they tend to make the
illness appear more acute, and thus increase the likelihood of hospital admission.
The high incidence of bleeding in the early days of the menses is of special
interest in light of Brewer's (1938) finding that in normal women, capillary
resistance to hemorrhage drops markedly and rapidly on the first day of the
menstrual flow and does not reach normal intermenstrual levels until the second
or third day after the flow stops.*

Among general practice patients confined to bed with a temperature
over 100° F. and with symptoms of less than 24 hours duration, 52% of 52 had
the onset of fever in days 25 to 4. (Menstrual cycles are standardized for
data-gathering purposes on a basis of 28 days, counting day one as the first day
of menstrual flow.) (Dalton, 1964b) Dalton speculates that her finding of a
higher incidence of bacterial infection in days 1-4 and of viral infections in
days 25-28 may reflect the longer prodromal phase characteristic of bacterial
infections, or may indicate that a virus contracted premenstrually weakened
the body, making it more vulnerable to bacterial infection. She points out
that in veterinary medicine the connection between estrogen and progesterone
levels and resistance to infection has long been known.

Even earlier, Weinstein, Aycock and Feemster (1951) reported a
relationship between hormone levels in women and a susceptibility to poliomeyel-
itis. Of 50 women admitted to a hospital with polio, 78% were in day 25-5 of
their menstrual cycle at the beginning of illness. Of these women, approximately

two-thirds were in the four premenstrual days. In addition, the number of

 

*Brewer mentions in his article that the increased probability of
hemorrhage around the time of the menstrual period is well known clinically,
and yet it is hardly mentione d in the literature. Aside from his article and
Dalton 's, reported above, I found no other mention of the phenomenon.
Medicine appears to suffer, like psychology, from the feeling that "clinical "
data is hardly worth publishing, even if it is of grave importance.

l
71.51:” H.398". W5C 1
‘ n1 "1 1‘
r2921} I. 1‘0 3n!
3331691309“.
’ linorrheo

Creme at:

5:55 exaeriencec

Dizziness or
\—

1": some case

3“! '3 S-otet‘ilnc 3th

 

”em clearly
3:2“: with

cycl ice

tr? .3 1113119 $13K es"
\ ‘

‘1?" A? any rate,

pregnant women who contracted polio was three times the expected frequency.

In pregnant women, high progesterone levels would counteract the protective

action of estrogen.
G. Rinorrhea
Greene and Dalton (1953) report that 7.2% of the 84 women they

surveyed experienced premenstrual rinorrhea.

H . Dizziness or Vertigo

 

In some cases it is not clear that reports of "dizziness" or "faintness"
refer to something other than the "weakness" or "fatigue" described above.
Other reports clearly refer to "vertigo". Morton (1950) , in describing his
patients with cyclical hypoglycemia associated with the menstrual cycle,
refers to "the shakes", which is perhaps similar to the "dizziness" reported by
others. At any rate, although not among the commonest complaints, dizziness
is still not rare, with reports varying from 1% to 16% of normal women surveyed.
(Argonz and Abinzano, 1950; Ferguson and Vermillion, 1957; Greene and
Dalton, 1953; Israel, 1938; Moos, 1968; Morton, 1950; Rubin and Winston,
1953; Sutherland and Stewart, 1965; Williams and Weekes, 1952).

Moos (1968), in addition to dizziness, mentions "cold sweats" and

 

"hot flashes" among autonomic reactions, while Rees (1953a) mentions

 

"palpitations. "

 

I. Infrequent or rare symptoms

 

1. Asthmatic attacks associated with menstrual cycle phase
(Frank, 1931; Freed, 1945; Greene and Dalton, 1953).
2. Como premenstrually or during menses (Freed, 1945; Morton and

McGavack, 1946).
3. Diabetes mellitus, Morton and McGavack (1946) report a case of

 

 

 

diabetes in which the patient experienced marked glycosuria and hyperglycemia
shortly before the end of menses, and was hypoglycemic postmenstrually. She

was successfully treated with estrogen.

4. E91995)! is 1r

 

 

ensign. Some 03'?
t

:é'e'e are cases in w
55 :‘f‘ageher at my
isezsch‘ton, 193
5- lei A pr‘.

351:1, 1134‘“ but. a 1W

r3132]. 9'ever with o '

 

:r: in he other 32 ‘7’e
5. C-fc-ucom ya.
u x U
'35“, 19551,
EsrflemJ heOriqg 1C
3? z.
5.?m11y. Progah
8. VOl’lCOSe Vef.
h \
9. Soot: be‘ore

"£15? ..
.5711 of 130 mm

10

4. EpileEy is frequently aggravated periodically around the time of
menstruation. Some patients experience attacks at no other time of the month
and there are cases in which the first attack occurred at menarche and convulsions
ceased altogether at menopause. (Frank, 1931; Frohlick, 1953; Freed, 1945;
Greene and Dalton, 1953; Healy, 1928) .

5. tier. A premenstrual rise in body temperature is not at all unusual
(Seward, 1934) but a true cyclical fever is. Reimann ( 1946), reports two cases
of cyclical fever with a premenstrual rise and a menstrual fall in one case over
13 and in the other 32 years.

6. Glaucoma varying cyclically with menstrual phase (Greene and
Dalton, 1955).

7. Hearing loss. Miller and Gould (1967) report two cases of

 

 

sensori-neural hearing loss fluctuating with the menstrual cycle, worsening
premenstrually. Progesterone treatment worsened the condition.

8. Varicose veins may become more prominent and painful

 

premenstrually, or in a few unusual cases, may be present at no other time.

(Rivlin, 1955; Sutherland and Stewart, 1965).
9. Spots before the eyes is reported by Sutherland and Stewart (1965) .

 

Two percent of 150 women they surveyed responded positively to this as a
premenstrual symptom on a questionnaire. Most likely, they were tapping
"somatic complainers" with this question, as others do not report this symptom
and, indeed, Moos (1968) uses "blind spots" and "fuzzy vision " as control
symptoms precisely because they are not considered to be associated with the
menstrual cycle.

Although the symptoms discussed in this section have been labeled
"physical ", it is clear that such experiences as pain and dizziness, for example,
are highly subjective. For convenience, the symptoms are divided into physical
and psychical on the basis of how they tend to be felt by the individual;
nothing about underlying causation is intended by the division. Similarly,

there is more overlap than separation between these artificial categories.

l1 PSYCHC

—-‘————

I . ' L. I
l Tryyjlfifiahd

 

f

Oweaihe most "
:urzw‘s easement.
{ems Before he one
551' mile to cope
:‘ehen. 11-111mm, el
331,195.11; Bickers :

"" 197- F;
:I?‘It'm, J r 1
.m.” 19:5. ‘J
""‘e'fi'lh "' r 5
131-1953; Morton, l9
3‘:'Ianc'Ktmb-te, 191
‘ 73'59’9551011
\

Name? (11, 1941: B

 

zeand‘lermillion,

1953; Jonowsky,

Stieglitz and Kin

s

‘~' 116531011 and Rick:

“seeing to catatoni
"X‘EOlnl t u

ll. Psychical Symptoms and Behavioral Changes

 

A . Tension, irritability, nervousness

 

One of the most frauently noted premenstrual changes is the change in
a woman's temperament. At other times she may be calm and easy going, but
a few days before the onset of the menses many women find themselves easily
upset and unable to cope with everyday irritations which usually would not
ruffle them. (Altmann, et al, 1941; Argonz and Abinzano, 1950; Baden and
Lizcano, 1963; Bickers and Woods, 1951a; Bruce and Russell, 1962; Ferguson
and Vermillion, 1957; Frank, 1931; Greenblatt, 1940; Greene and Dalton,
1953; Hegarty, 1955; Israel, 1938;: Janowsky, Gorney, and Kelley, 1966b;
Moos, 1968; Morton, 1950; Pennington, 1957; Rees, 1953a; Rose, 1948;
Stieglitz and Kimble, 1949; Suarez-Murias, 1953; Sutherland and Stewart, 1965).

B . Depression

 

Often the premenstrual irritability is accompanied by depression
(Altmann, et al, 1941; Bruce and Russell, 1962; Coppen and Kessel, 1963;
Ferguson and Vermillion, 1957; Greene and Dalton, 1953; Hegarty, 1955;
Israel, 1953; Janowsky, et al, 1966a; Moos, 1968; Morton, 1950; Rees,
19530; Stieglitz and Kimble, 1949; Suarez-Murias, 1953; Sutherland and Stewart,
1965; Wessman and Ricks, 1966) which may range from a slight drop in feelings
of well-being to catatonic or suicidal depression. Sometimes it is described as
a feeling of "foreboding" or "impending doom", and 51129 is frequently present
(Altmann, et al, 1941; Greenblatt, 1940; Israel, 1938; Moos, 1968; Morton,
1950; Williams and Weekes, 1952).

C. CMe in activity level

 

In contrast to the lethargy described in section l,C, a sudden increase
in activity level premenstrually is observed in many women (Mall, 1958; Moos,
1968; Williams and Weekes, 1952). Altmann and his co-workers (1941),
studying ten normal women over a total of 55 cycles, found that in 71.8% of
the cycles, there was a burst of physical and mental activity, premenstrually,

which concerned "cleaning, putting in order, or mental organizing" and was

11

,1
.. r. l l ' 1.. .: L. H .. 1.1.
I I -’
I a / I I I u , ll .1 I ’ a- I,’ J, \ ..,
\ o , \-.. z .z I A,
‘ b
\ I n n ‘ - D' p ' c O \ u/ a. .
l a I \ \ I s I 2 \.,,.;.\.., s I

, ..
... . n . l. < . ‘ \. ."I'l to '\<
s .’ \l): s\ l e ‘ ‘ I ‘
i . 4 o
9 i la — i( ‘ f I] - ’k
a x
‘. l . \ -\ h l - F ‘l t '
a r '2 r‘ ‘ ’
Sh . \.' t \ . x. < .
(.. l A ’ — I
.'It- - . R s \ \ ,
l a; .fi‘ \ N: ‘\. \
\
‘ - \ r‘
. ' ' ~ ~ / I I ‘I‘.I‘.(\('. . ..' ‘ ‘ r l\
—— - ‘ \
h \ . .‘ . h . . \.
.. , ‘ .
- .- '. K \' ,. ‘Q \ 3, g
’ I - l l I\ l
"- - u . K \ I. r h "K
‘- ‘
2.. ' - \,' \I ’.\r‘
,
C .‘ Q 0 l ‘h. - '-
l'uu .'.'~-- . hr; 5 he. lisr'.’. .r u
..l-- .4";II\ '.*'. .‘,.’“-: .7 ‘0 ‘ '1. I
l . l
( D
‘1"‘l
:\
: : .2 ‘ 3; —“ ~ ,- v
1 C ‘ \'_
‘1‘ . _ I I
~. .r\\' nun.“ .nur - .,_-\ ‘-" \
s ‘ ‘ \f'
l \ l" " -‘ .\\ s N Ii \ \ ’. r“ ‘ .
a-
‘ \ .== \ =
‘ : : - \ .3 ‘\
. \ '\
O
\\ \ ~ .2 :— e

\ nut ’ I
' I
I - a I t I
A
' I I II ‘I I ’90 I
O U
I ’0.» (a \I.‘ csr- a
I

\ If ’ t.
f ; .e ,)( ’ u-a e
.I t \ \l I -z\ .r u

'.‘( ,v 2.3( we“
fi 3". I l 3 I ; :

s - I I
v .3 \"N \ \ ¢~r\I-H' \

a n.

P Q ‘ 4‘ v .0- C

r“ ,.\'\ 3C

.
. ‘g u c

Q . -
....... . I..-

I ‘ ' . 3A1
, I N

(s C 1" ‘ \o\.: of .‘
‘ \

\ \ .~
~. ‘.
‘ ~ e . e \ c \' \

- a s \ e "

t. l ‘l I\ II “1 s l
J \\ ‘ 3 -‘ \ ,
\ "
' . \ 0‘") :J ‘\ 3 "
w. J 9 .L‘ .‘ \\

ghacconmf‘IlEd 5?
"323, mislead tidir
‘35-: lfreed increase:
3.4:" 3331?: out that C

«51.4 are hen blamed o

3. Insomnia

 

Again conthf'
"r tho 40%, one
i‘n'ld, (Bickers and 5
133:.- 3enn7ngfon , l957;
iii-ea. Weekes, 1

lr-aoired conce

ll one takes in;
"tmnsuffering fro.»
351:1 and nervous i
'13 tssld be a feature
"ml: 1931; Ko
11:. l953; Morton, 1

1
"821805961 effi-I
\l
l

 

 

 

12

usually accompanied by a critical feeling toward others. Allen and Henry
(1933), considered tidiness a premenstrual sign, whereas Freed and Kroger
(1950) likened increased premenstrual activity to manic behavior. Dalton
(1964a) points out that a day of extreme activity may precede other symptoms,
which are then blamed on the previous day's expenditure of energy.
D. Insomnia

Again contrasting with the sleepiness so often reported, many women
(from 5% to 40%, according to different authors) suffer from premenstrual
insomnia," (Bickers and Woods, 1951a; Israel, 1938; Moos, 1968; Morton,
1950; Pennington, 1957; Rees, 1953a; Sutherland and Stewart, 1965;
Williams and Weekes, 1952) .
E. Impaired concentration

 

If one takes into account the lethargy or loss of sleep due to insomnia of
the woman suffering from premenstrual tension, and couples with it the frequent
depression and nervous irritability, it is hardly surprising that impaired concentra-
tion should be a feature of the premenstrual syndrome (Ferguson and Vermillion,
1957; Frank, 1931; Kopell, Lunde, Clayton, Moos and Hamburg, 1969;

Moos, 1968; Morton, 1950; Pennington, 1957; Wickham, 1958) .

F . Decreased efficiency

 

Again, the factors mentioned above would lead one to expect decreased
efficiency in work. Kopell , et al (1969) , however, reports that simple reaction
time does not vary with cycle phase. Lough (1937a, b) found that the results
of a daily five minute arithmetic test taken by college women were not affected
by cycle phase, and attributed this to "compensation. " Wickham (1958)
likewise cast doubt on the importance of menstrual cycle phase as an influence
on test results, but failed to test his subiects in the premenstruum. Billig
(1953), however, reports 62 decreased efficiency days per month per 100 women
in his study in industry, and his results are substantiated by the self-reports of
women in other studies (Moos, 1968; Morton, 1950; Seward, 1944) . Work
absenteeism connected with menstruation is reported by Billig ( 1953) , Dalton
(1964b), Moos, (1968) , and Seward (I944) . Seward, however, points out that

t I s.-
r)'? 1‘13! like GOV00~-

 

fixation. M390"?

9:355 im pain, or;

eel-:55 associated w

:. Change in acne

 

Anyexio ‘Pen*

'5‘, Nelson and Thor

 
   
   
 

is»? wager tS presenf,

‘ vq.A,x
f“ ¢\‘D|
‘- .19“ i.

 

lnc'esse in sex;
Cne of the mos.
'25 she frank, 193‘l
If: Have been made c
3.3. 303511953, for

h '
1.? F:

d nlibido C1101

13

women may take advantage of cultural attitudes and malinger around the time of
menstruation. Moreover, those women in active, rather than sedentary work
suffer less from pain, and therefore miss less work, and housewives report 47%
more illness associated with menstruation than do working women.

G . Change in appetite

 

Anorexia (Pennington,1957) or increased appetite (Rubenstein, 1942;

 

Thorn, Nelson and Thorn, 1938) may be a part of the premenstrual picture.
When hunger is present, a craving for sweets is often noted (Morton, 1950;

Rees , 1953b) .

H. Increase in sexual drive

 

One of the most interesting. premenstrual changes reported is an increase
in sex drive (Frank, 1931; Merrit, 1962; Morton, 1950; Rees, 1953a). Several
studies have been made of this aspect of the premenstrual syndrome, with varying
results. Boas (1955), for example, found that of 246 women surveyed, 87%
experienced "libido changes" at some time in their cycle, but that there was no
uniform type. Some found their sex drive heightened premenstrually, some
postmenstrually, and some at ovulation. Hart (1960) , on the other hand, found
a trend toward a peak in sexual desire associated with menstruation, in spite of
individual differences. Fifty-nine percent of 123 married women reported that
their maximum in sexual drive occurred close to menstruation, with 22% specify-
ing iust before, 22% iust after, 8% both and 3% during menstruation. Allen
and Henry (1933) found similar results. Shader, DiMascio and Harmatz (1968)
found a significant (p-<.01) relationship between the number of premenstrual
symptoms a woman experienced and her level of non-situational non-premenstrual
anxiety. The women highest in anxiety, in turn, were those who most frequently
reported premenstrual changes in sex drive (p<.01) . Of 11 out of 76 women
who were high in anxiety and reported changes in sexual desire premenstrually,
9 experienced an increase and 2 a decrease in desire. Sixteen of the total of

76 women, or 21.1%, reported a premenstrual increase in sex drive.

1:5 01 prenenstr J
2:; 79381, Mall illii

I
5555 by hell, he «

 

24:1; in view of MC'
're’e, but rather he
2:37am is maintaine;
:. . " furthermore ,
j"3:75:qrro'rr:'ty, it
"3, rcher t

"131393515. Ruben

 

‘13:": . '
.. .ml crovrncs,

a"4“Cllrr

ll‘IEy Were

14

Cases of premenstrual nymphomania have been reported by Freed (1945) ,
Israel (1938), Mall (1958) and Rubenstein, Shapiro and Freeman (1940). In the
case seen by Mall, the woman had an unusually high estrogen level. This is
confusing in view of Money's (1967) assertion that estrogen is not a libidinal
hormone, but rather that "sexual desire with its attendant imagery, sensations
and actions is maintained well-functioning in both men and women by androgens
(p. 151) ,." Furthermore, since estrogen and androgen may act antagonistically
in sufficient quantity, it seems more likely that a very high level of estrogen
would decrease, rather than increase sexual desire, by cancelling out the effect
of the androgens. Rubenstein and his coworkers treated five women with "over-
intense" sexual cravings, at least two of which experienced their symptom pre-
menstrually. They were given subcataneous testosterone propionate with good
results, which the authors hypothesized worked by depressing the gonadrotropic
function of the pituitary. Greenblatt, Mortara and Torpin (1942), on the other
hand, gave the same treatment to women who complained of too little sex drive,
also with good results '.

ln relating so subtle and individually, socially and culturally determined
a phenomenon as sex drive to hormonal levels, one is treading on extremely shaky
ground, for as Money (1967) points out, " It is most likely that, once an optimal
level of circulating hormone has been reached, the control of sexual desire is
strictly nonhormonal (p. 145). ". Furthermore, "It seems likely that the body may
develop some degree of hormonal tolerance, perhaps by way of conditioning and
learning (p. 153) . "

The human female is surely affected by her hormones, but she need not be ._
controlled by them.

1. Change in schoolgilstgrades

Dalton (19600) studied 217 menstruative girls aged 11 to 17 and found a

27% drop in weekly marks during the premenstrual week as compared to the

 

previous week, during the menstrual week 25%, and of only 15% during the
postmenstrual week. A 17% rise in marks compared to the previous week

occurred during the premenstrual week, of 21% during the menstrual week,

..'2“'5- I? he Mimenstr

 

ft": and 'egorc'less 3
535:2. Since st'ess '
r'e’neo.‘ any givE" '
2:12 lowered scho:

1"???“ 900 l rel _

 

l. Schwlgirls' :
rezgesclioolgirls, '
22.-finality, forgetful.“
ere: frequency, occ
“ he committed fe

fii‘iree, while 363.5

:3; his time. This m

w”-

.zLehc‘rior more 1110
$355.13, and cllov
5'15 he expected

2. Overconcerr
11%;.1 I . .
- en bringing their

22:: of their mensm

.4. Che four pren

"135 is finding ref

\\

‘-'-?‘ ‘lreseverity of
3- lnebility to

"9'52:
lnl complaint.

‘,-,-"I
‘ ,

wtmnn, et 01,

I5

of 30% in the postmenstrual week. This pattern occurred equally among all ages
of girls, and regardless of menstrual regularity, intelligence or characteristic
diligence. Since stress increases premenstrual tension, Dalton points out that

at the time of any given exam, one girl in six will be at her lowest. Moos (I968)
also found lowered school or work performance to be a premenstrual tension symptom.

J . Interpersonal relations

 

I. Schoolgirls' behavior: Dalton (I960c), studying the "naughtiness"
of teenage schoolgirls, found that of 272 offenses for bad behavior (e.g. ,
unpunctuality, forgetfulness, rudeness, disobedience), 29%, or two times the
expected frequency, occurred in the first four menstrual days. The "good"
girls, who committed few offenses at any time, committed 26% of their offenses
at this time, while 36% of the offenses of the "naughty" girls were committed
during this time. This may partly reflect menstrual lethargy, making detection
for misbehavior more likely. It was also noted that prefects, who were older
girls I6 to I8, and allowed to punish other girls, gave significantly more
(two times the expected incidence) punishments during their own menstruation.

2. Overcgncern of mothers: In another study, Dalton (I966) inquired

 

of mothers bringing their children to a general practice clinic with minor sniffles,
the time of their menstrual dates, and found that 54% of such mothers were in
days 25-4 (the four premenstrual and four early menstrual days). The author

felt that this finding reflected the impaired ability of the mothers at this time

to iudge the severity of their child's illness.

3. Inability to get along with family members: This is a common

 

premenstrual complaint. Family fights are often related to the wife's menstrual
cycle (Altmann, et aI, I94]; Dalton, 19640; Israel, I938; Moos, I968).

4. Increase in aggression and crime: Janowsky and coworkers ( 19660 ,b)

 

point out that the periodic assaultive outbursts associated with menstruation in
some women (Hegarty, I955) may have been one of the origins of menstrual taboos,
which served to isolate the menstruating woman and protect the community against
her anger and emotional instability. In any case, crime and violence are closely

associated with cycle phase. Bickers and Woods (I951a) and Cooke (I945) both

 

2.3-, lie police reco'
liarzeiy women are :l
:5. Clecln .l‘ii3"E oo"
vzzrtis a crime me
were". in this co-

Dalton (liéli,
stri-e had been cc

«2.2:: committed durf

 

:r-Jii: offenses. Cyc
7:125 o'emenstruol tel
:21; 5e premenstruum
fiscal; in days 25 to

Morton, ACIOliI
"Marl prison found

trangn'er, murder or

'\

.ltii‘lv‘. . .
1 3 mefiol’lmiEOt

32"“.n

a illlig 0T prmens
RE I I

all WiPUl Increoc

Pollok (_l930‘l
7mm commonly 055

'5???th

w. L are 4
“ep'ESS

‘3‘.

.4859“. He furfh

'N

“is“ Dalton (19

‘1)?
mm or the

3
' EmolfOriel

. o
.90.
. ma

 

ly d?
3.. 'Sord er8c

‘

.lon Series

an. .
”lo/Fr.
ed, 1

.. 33

.; “h .
\ en! II is CI

.. ‘3‘? ‘ ' e0

I6

mention the police records of Paris, the latter stating that 84% of all crimes of
violence by women are committed during the premenstrual and early menstrual
days. OIeck (I953) points out that in France, a premenstrual or menstrual woman
who commits a crime may plead "temporary insanity" and urges the same legal
consideration in this country.

Dalton (I96I), in a study of 156 female prisoners, found that 49% of
their crimes had been committed in days 25-4 of their cycle, that 56% of thefts
had been committed during this time, 44% of crimes of prostitution, and 54% of
alcoholic offenses. Cycle phase was more important for first offenders. Of these,
27% had premenstrual tension syndrome and 63% had committed their crimes
during the premenstruum. Of prisoners reported for bad behavior, 54% were
disorderly in days 25 to 4.

Morton, Additon, Addison, Hunt and Sullivan (I953) in their study in a
New York prison found that 62% of unpremeditated crimes of violence such as
manslaughter, murder and assault were committed in the premenstrual week, and
17% during menstruation. With medication and a change in diet for those
complaining of premenstrual tension, discipline in the prison was much improved,
and work output increased.

Pollak (I950) reports that shoplifting, arson, homicide and resisting
arrest are commonly associated with menstruation and that figures showing this
relationship are depressed by the reluctance of many women to mention their
menstruation. He further states that menarche is associated with arson and false
accusation. Dalton (I966) reports two cases of child abuse in which the mother
was premenstrual at the time of the crime.

5. Emotionally disordered behavior: Janowsky, et aI (I966b) note that

 

"emotionally disordered behavior" associated with estrus is present throughout
the mammalian series. Some report this in human females as a dramatic change
in personality (Freed, I953; Israel, I953) or even describe it as "frenzy"

(Israel, 1938), Oleck (I953) calls it "temporary insanity". Although not present
in all women, it is clear that neurotic and psychotic behavior is worsened in
many women during the premenstruum and during menstruation (Argonz and Abin-

zano, I950; Freed, I945; Kramp, I965; Morton, I950), and in some cases

:r. see-1t to a path.

 

0. Neuroti:

 

vowed exacerbat? -.

  
  
  
  
  
   

2:2?va and lOU"
mi: only three wt»
stzordeo'esed pre'
:1": He studied rec :'
:ae excluding preme"
rm'oticism measa":
3557*: to test then C.
‘tiil'e to Withdraw ‘r
m, and Williams

2'. 5. reports "er
5’3 l3” Premensm

5' PSYCI'tof'.
\

33.53.93: 't ‘
”th PSYCltoti-

I
"J I a

“:5th °l llowin

 

ii.
E'I.
‘ xCUtrln

l “‘5 Bmatey, l94<

3: 1 ~.
I. .952”! exacerb

I7

is only present to a pathological degree during this time.
a. Neurotic behaxigr. Bruce and Russell (I962) studied ten patients

 

who reported exacerbation in neurotic symptoms or symptoms present only in the
premenstruum, and found that the cyclic relationship they claimed was actually
present in only three when observed. These became easily upset, phobic,

anxious or depressed premenstrually. Gregory (I957b) found that 32% of the 52
neurotics he studied reported an association of their symptoms with the premenstrual
phase, excluding premenstrual tension symptoms. Lough (I937b) found no difference
on a neuroticism measure when she tested women at different times in their cycle,
but failed to test them premenstrually. Morton (I950) reports feelings of unreality,
the desire to withdraw from people and fear of leaving home as premenstrual
symptoms, and Williams and Weekes (I952) mention withdrawal and hiding.

Rees (I953a) reports "emotional IabiIity" in 80% of 207 cycles of women

suffering from premenstrual tension syndrome.

b. Psychotic behavior. Disorders of menstruation are so commonly

 

associated with psychotic behavior in women that it was once believed that
psychosis was caused by menstrual failure, the menstrual blood backing up into

the brain, poisoning it and causing "Iunacy'l (associated with the phases of the
moon), instead of flowing out as it should. Although there are reports of psychotic
episodes occurring only premenstrually, and ceasing in the inter-menstruum

(Billig and Bradley, I946; Janowsky, et al, 19660; Rees, I958; Williams and
Weekes, I952) , exacerbation in symptoms already present is more commonly
reported.

Gregory (I957a) reports that amenorrhea is the outstanding menstrual
abnormality of the psychoses, especially in acute phases and at onset, and
particularly associated with catatonia. In his five year study of 2I9 patients
in a psychiatric h05pital , Gregory (I957b) found the incidence of amenorrhea
to be 74.4% in schizophrenics, 58.9% in paranoids, 38.2% in organic
psychotics, 12.9% in affective psychotics and I0.8% in neurotics. There was

a trend toward increased incidence in amenorrhea with increasing number of

.11 3: hospitalization
23:22.5: with insic”
‘52:"those with acute
‘rrizchg, and all of
'ml finctioning.
:2:2 asychological
moi inctioning h:
T’t’fwas commm .
TI This may partl.
”Hilly. Who: is -..

ferric: which reculc5

 

may/chic turmoil

l
'2 iriculorly in the 2'
:eefiywhich iS ”1‘55
3:215. Stress lieqbil
:iriwtercourse W50

Gregory also col
225v.
”WWW l ly.

w.

.23, - -
The incidence

Elf"; ‘
~UT°lIB O in;
nd ~
:3. 63
' Wit.
5“ m” melor
.‘~ £13 .
ensIon. 75

Hi
' .i ”lei s

“Milorfi w.

5.

Psychiatric H
"iihxmh\

 

m
g
IQ l

I8

years of hospitalization. Of 58 schizophrenic and paranoid psychotic admissions
47% of those with insidious onset had a disturbance in menstrual functioning,
62% of those with acute onset were suffering from a disturbance in menstrual
functioning, and all of the I2 who were stuporous on admission had disturbed
menstrual functioning. Improvement in menstrual functioning tended to signal
improved psychological functioning, and patients discharged with disturbed
menstrual functioning had a poor prognosis. Although a history of gynecological
treatment was common in neurotics (48%) , only 4% of psychotics had such a
history. This may partly reflect socio-economic status, which was not controlled
in this study. What is the meaning of this data? It may indicate that the hormonal
mechanism which regulates normal menstrual functioning is a delicate one, easily
upset by psychic turmoil and the accompanying bodily changes which accompany
it. Particularly in the case of amenorrhea, it may reflect a conservative effort
by the body which is marshalling it's resources for a fight, and cannot afford the
blood loss. Stress frequently results in amenorrhea, from the girl frightened by
her first intercourse who misses a period, to the concentration camp victim.
Gregory also collected data on increased incidence of disturbed
behavior premenstrually. Forty percent of the total incidents of disturbed behavior
occurred in the last ten days before menstruation. This affected 45% of the
patients. The incidence of premenstrual tension among patients was high, with
88% of neurotics and 65% of psychotics reported as sufferers. Depression was
the most common symptom in the neurotic group. Of those suffering from pre-
menstrual tension, 75% noted a premenstrual rise in symptomatology. Dysmenorrhea
(painful menstruation) was reported by 66% of neurotics and 78% of psychotics.
c. P_sychiatric hospital admissions. Reflecting a. and b. above,

 

acute hospth admissions for psychiatric reasons show a sharp rise in the pre-
menstruum and early menstruum (Mall, I958) . Allen (I935) found that 76% of
manic depressives, 46% of schizophrenics and 43% of neurotic and miscellaneous

admissions occurred during this time. Dalton '5 (I959) study of acute psychiatric

 

admissions revealed twice the expected frequency of all admissions (N=276) , 2.5
times expected frequency of admissions for depression (N=I85) and twice the

int-e4

were: Seguency oi :
ééecycle. The l"our
22:2:in due to sch
illiffiiifll days loge
25:52: and 4'32: of g

d. Suicide atte

 

nerlmenstrcnl pic‘
xt'chinnon 0956‘ :
trier] suicide to he

3 then during 0'

3": his

I
l
time and on I
{fieduring the late ll
I
. I
r: Dime, even thou
lt‘tgalnses.

i ndell and Ma
ii'itorevention cent2
21’". l to 4 of their c;
i he: was also a ri:

 

I9

expected frequency of admissions for schizophrenia (N=I I4) on days one to four
of the cycle. The four premenstrual days had I.5 times the expected incidence
of admissions due to schizophrenia. Grouping the four premenstrual and first
four menstrual days together, 46% of all admissions, 47% of admissions for
depression and 47% of admissions for schizophrenia occurred during this time.

d. Suicide attemLIs are also an important part of the premenstrual

 

and early menstrual picture (Frank, I93I; Janowsky et al, I966a) . MacKinnon
and MacKinnon (I956) and MacKinnon, MacKinnon and Thompson (I959) found
death from suicide to be much more frequent during the mid Iuteal phase (days
17 to 23) than during any other time in the cycle, with 26 deaths due to suicide
during this time and only I2 over all other phases of the cycle. Deaths clue to
suicide during the late Iuteal (premenstrual) and bleeding days combined totaled
five. This somewhat contradicts the findings of others that suicide attempts are
most frequent during days 25 to 4. Perhaps lethality is higher during the mid
Iuteal phase, even though attempts are more frequent during the late Iuteal and
bleeding phases.

Mandell and Mandell (I967) , studying 87 calls to the Los Angeles
suicide prevention center found over twice the expected frequency of callers
in days I to 4 of their cycle, and half again as many as expected in days 25 to
28. There was also a rise over chance frequency at midcycle. Ribeiro ( I962)
performed 22 necropsies of Hindu women who committed suicide by self-immolation.
Nineteen were menstruating, two were pregnant. Three Africans who hung
themselves and one European who suicided by overdose with sleeping pills were
also menstruating. Dalton (I959) found acute psychiatric hospth admissions
due to suicide attempts to be 2.75 times expected frequency (or 39%) in days
I to 4. Half again expected frequency was observed around the time of ovulation.
Grouping days 25 to 4, 53% of all admissions for suicide attempts took place
during the premenstrual and early menstrual days (N=36). Tanks, Rack and Rose
(I968), studied 95 suicide attempts of varying degrees, in women I5 to 49 years
old. They found an excess of attempts in the seven premenstrual days (p<..02)

and a nonsignificant peak at midcycle. More premenstrual attempts were made

   
  
   
  
  
 
 
  

3:15 iivirg with o rt“.
tr: :<.325l. Para.
rears‘ni suicide a“:
arm p< .02). This
":2: smdrome may Iv
222:”: from making :-
Iticrere'drinc: 'oir‘h c.
t‘rt‘mclly.

l - .
increase in egg}:
R

'I

Since tension, I

has? - (

. . .0: IS longer IKo.

., . 3m] .
lenSloq S.|

vb
(J...
3
—-o-
J-
O
‘01
_—

fl
3
“U
0
n
-v-
—o-
O
_—

 

20

by those living with a man than by single, divorced, widowed or separated

women (p < .025) . Parous women with premenstrual tension syndrome made fewer
premenstrual suicide attempts than parous women without premenstrual tension
syndrome (p< .02) . This may be because women suffering from premenstrual
tension syndrome may know that they will feel better in a few days, and be able
to refrain from making an attempt at that time. Of the ten women in the study
who were taking birth control pills, only two made their suicide attempts
premenstrual ly .

K. Increase in accidents

 

Since tension, irritability and depression are common, emotional behavior
is disordered, concentration, iudgement and efficiency are impaired, time
estimation is longer (Kopell, et al, I969), tiredness and lethargy are frequent, it
is no wonder that women are more likely to be involved in accidents of all kinds
during the premenstruum and early menstruum. Dalton (I960b) reports that 52%
of women seen in hospital accident wards and in her own practice who are in-
volved in accidents, serious or minor, as active or passive participants, are in
days 25 to 4 of their menstrual cycles (N=-84). Whitehead (I934) reported three
cases and referred to reports of others, of women airplane pilots having serious,
sometimes fatal, accidents during the time of their menstruation. MacKinnon
and MacKinnon ( I956) and MacKinnon, MacKinnon and Thompson (I959) found
deaths from accidents to be most common in the mid Iuteal (8 of 20) and late
Iuteal (6 of 20), or premenstrual days. Moos (I968) includes "accidents" as

a premenstrual tension symptom.

Death

 

As mentioned above in connection with accidents and death due to
suicide,the death of women of menstrually functional age tends not to occur
randomly with respect to cycle phase. MacKinnon, MacKinnon and Thompson
(I959), collecting uteri from a London coroner's mortuary over five and a half
years found the Iuteal phase to be, by far,the most hazardous. Their findings

are summarized in Table I.

freQUency or

 

 

 

TABLE I

 

 

Tfiuency of deaths in various phases of the menstrual cycle

 

 

 

 

 

Cycle phase Number of days Number of deaths Suicides Accidents
Bleeding 4 2 I 0
Follicular 10 11 2
Early Iuteal 2 I2 4 4
Mid Iuteal 7 60 (p<.001) 26 8
Late Iuteal 5 17 4 6
Totals 28 102 38 20

 

 

Death due to circulatory disease was also much more frequent in the luteal

phase than in other phases of the menstrual cycle.

Incidence

It must be clear from the great variety of symptoms experienced by women
premenstrually that estimates of incidence of the syndrome vary, partly dependent
upon what symptoms are included and what severity is requed by the particular
author in order to consider it part of the syndrome. For example, Bickers and
Woods (I95Ia) estimate that 25% of all women require medication for premenstrual
symptoms, Freed (1945) states that 40% of women "suffer a considerable amount
of distress" premenstrually. Morton (1953) estimates that 50% of women have
some premenstrual discomfort, and Ferguson and Vermillion (1957) and Pennington
(1957) found that only 5% of women were completely symptom-free, premenstrually.
It is quite possible for all of these reports to be correct, and most estimates fall
somewhere between 25% and 95%, depending upon severity.

Incidence of premenstrual tension syndrome is related to age and parity.

The older a woman is, the more likely she is to suffer from premenstrual tension,

21

 

we: iJ'L‘Ei the sum-

 

iizvt‘sl’Wl tension
2r“, h'crried null
era‘ss'rdrome than u
312-3223321952? Fe

"2:: contribute to s

2W discarded 2k

 

35.3% 0i the mens:

On the:
Will beg
her will
glider: I
will icl
Her Ver
0i mirrc
‘1ch ti
if lOolq
brass Or
emit 0,
have 1»:
with rn
'“Cura':
pp. 15

22

and the larger the number of pregnancies she has had, the greater the likelihood
of premenstrual tension. Each of these factors remains when the other is held
constant. Married nulliparous women are more likely to have premenstrual
tension syndrome than unmarried, nulliparous women (Greene and Dalton, 1953) .
Suarez-Murias (1953) feels that pregnancy and marriage may be significant in

that they contribute to stress in life.

Etiological Theories

 

l . Menotoxin

 

A now discarded theory, popular in the 1940's, followed Pliny's ancient
description of the menstruating woman:

On the approach of a woman in this state, must
will become sour, seeds which are touched by
her will become sterile, grafts wither away,
garden plants are parched up, and the fruit
will fall from the tree beneath which she sits.
Her very look, even, will dim the brightness
of mirrors, blunt the edge of steel, and take
away the polish from ivory. A swarm of bees,
if looked upon by her, will die immediately,
brass and iron will instantly become rusty and
emit an offensive odour, while dogs which may
have tasted of the matter so discharged are seized
with madness, and their bite is venomous and
incurable. (Plinius Secundus, 1855, vol. 2,
pp. 151-152.)

Stieglitz and Kimble (1949), for example, believed that a toxic substance,
called "menotoxin" accumulated in the tissues prior to menstruation causing
premenstrual symptoms. It was believed to be aggravated by emotional

disturbance and purged by diuretics.

ll . Vascular Spasm

 

Another discarded theory (Brewer, 1938) was that a generalized vascular
spasm took place premenstrually, causing pain and other symptoms, but this

was not upheld .

Si-ce frank first or
we: as the cause -
reg'rer hormones or
revise estrogen lr

:ec‘e that deficier

 

 

race cud proges’in ,'
:2: ice of argument,
'Ier'iersion of this \

no high a relati'

 

S's-cel

uldf ilUldI "
'. 1 ' '
2:235: epithelial pr
tee-rend vaginal er:
”J!

.. to increased SI

:rsrceration finc

I I l . Hormonal Theories

 

Since Frank first proposed an over abundance of "female sex hormone"
(estrogen) as the cause of premenstrual tension in 1931, most etiological theories
have given hormones on important role. Israel, in 1938, was the first to propose
that absolute estrogen level alone was not responsible for premenstrual tension,
but rather that deficient ovarian lutenization created an imbalance between
estrogen and progestin, permitting the action of unantagonized estrogen. This
basic line of argument, with variations, has been followed ever since. The
modern version of this view as expressed by Morton (I953) , goes something like
this: Too high a relative level of estrogen causes 1) Increased retention of
extra-cellular fluid, leading to weight gain, edema, pain and nausea, 2)
Increased epithelial proliferation, which causes hyperplastic changes in breast,
uterine and vaginal epithelia, . 3) Alteration of carbohydrate metabolism
leading to increased sugar tolerance, and thus, hypoglycemia. This last takes
into consideration findings of hypoglycemia in premenstrual tension (Smith and
Sauder,‘ 1969). Hypoglycemia, in turn, is related to crime, lowered iudgement
and self control, hazy thinking, irritability and negativism, and increased
sexual and aggressive drives, all of which have been linked with premenstrual
tension (Oleck, 1953) . To further complicate the picture, at least some cases
of hypoglycemia are thought to be psychologically caused (Alexander and Portis,
1944; Karlan and Cohn, 1946; Portis, 1944; Portis and Zitman, I943; Rennie
and Howard, 1942). Those who favor a form of the estrogen/progesterone-balance-
Ieading-to-increased-sodium-potassium-and-water-retention theory include:
Bickers and Woods (195Ia) "premenstrual tension is. . .essentially a water toxemia, "
Freed (I945) , Freed and Kroger (1950) (who admit that some "severe" neurotics
are not relieved of premenstrual tension by a decrease in sodium retention),
Gillman (1942), Greene and Dalton (1953), Greenhill (1953) and Rees (1953a).

Mall (1958) , however, reported that he failed to find a difference in

estrogen level corresponding to behavior changes. Bruce and Russell (1962) go

23

  
  

tr? 1th in SUmmGi'
mam "The ass.
he teasers, Ml C9
eir'nshiu or For elit—
sesame. Neither
irresordiuretics tc
7‘: he" does: of the

7:: theories relate

i2:22: =7l950i bel iev

 

ire, correctable lJ‘l
2:122, 3islcind and Bi!
Ere-rs olvi‘amin B C
552:, and oi 52 00’
ref}: or symatoms c
iii-i: conpl ex the
“fiesta lose its ab?
it"s:ti'rated, rasulti

Set-erland and St

:rs‘iaqfimI lethc
.33.,

"u

Brigg” IHSC

“iitebbolrsm ma

£ngin 81’ . OI

leaflxrine or Pit:
o‘. -I
222?). "x ..

CO l.
'5 rte,

24

even further in summarizing the findings of their very careful metabolic study of
ten patients. "The association between water retention and premenstrual symptoms
is very tenuous, and certainly there is no iustification for postulating a casual
relationship or for elaborating a theory of disequilibrium between oestrogens and
progesterone. Neither is there any iustification other than empiricism for giving
hormones or diuretics to patients with symptoms restricted to or made worse during
the luteal phase of the menstrual cycle (p. 271) . "

Two theories relate vitamin deficiency to hormone disorder. Argonz and
Abinzano (1950) believed premenstrual tension to be due to on estrogen metabolism
disorder, correctable by vitamin A, and successfully treated their patients with it.
Biskind, Biskind and Biskind (1944) found that of 39 patients with presenting
symptoms of vitamin B deficiency, 37 had a history of some sort of menstrual
disorder, and of 52 patients whose maior complaint was a menstrual disorder, all
had signs or symptoms of vitamin B avitaminosis. Dramatic improvement followed
vitamin-B complex therapy. They proposed that the vitamin deficiency caused
the liver to lose its ability to inactivate estrogen. Androgen would continue to
be inactivated, resulting in an estrogen/androgen imbalance.

Sutherland and Steward (1965) , noting the opposite symptom culsters of:

I) constipation, lethargy, hypersomnia, dry hair and anorexia; and 2) diarrhea,
increased energy, insomnia, greasy scalp and increased appetite; point out that
thyroid metabolism may be involved.

Janowsky, et. al . , (1966a) propose that progesterone inhibits secretion of a
neuroendocrine or pituitary substance, perhaps ACTH . The secondary effects of
this on the adrenal gland causes secretion of "X" (aldosterone? a I7-hydroxy-
corticoid?). "X" causes increased brain irritability, water and sodium retention,
etc. With decreased progesterone levels, increased amounts of "X" appear,
causing premenstrual tension .

Whatever the role of hormones in premenstrual tension, present levels of
knowledge in the field of human endocrinology make it unlikely that a
definitive explanation of the syndrome from a hormonal point of view is likely

in the near future.

IV, PS} C

it: authors are -.
:52? of premenstr
Ecsridt, W34; ls

its. The argumen-‘S

 

mirz‘ix of the loll:
“:2 than average m
as with gImecolOgi
25:33;in disturba'
fixed the gynecolr

‘fsy'ecologic prob. l:

“U?- ‘0? always , 3v:

2:“: over the iemi
. viz-er who :0le

:AI ‘MI \
3"" Smloms the
s-u.

- are "hypocl

'iiSMQY in m
in

’ :En meemre

N1. '

.3 .
' :al, "1 Some <
a?“

vii“

«I
I crd feSU

’2;

s._

IV. Psychosomatic and Somatopsychic Theories

 

Many authors are willing to concede some sort of role to the psyche in the
causation of premenstrual tension. While for some this is ill-defined (e.g.
Goldschmidt, 1934; Israel, 1953) , others see the disorder as a frankly psychogenic
illness. The arguments used to support the latter view usually take one or a
combination of the following forms: Ia) emotionally disturbed women have a
greater than average number of gynecological problems, or conversely, 1b)
women with gynecological problems have a higher than average rate of
psychological disturbance (some authors also indicate that the psychic disturbance
antedated the gynecologic problem), therefore, the emotional problem is causing
the gynecologic problem. The type of psychic problem involved is sometimes,
though not always, symbolically related to the physical symptom, for example,
conflict over the feminine role, difficulty handling sexual feelings, and so on.

2) Women who complain of premenstrual tension also complain of more other
physical symptoms than do women who are low in premenstrual tension, indicating
that they are "hypochondriacal , " or have learned to value the sick role as a
coping strategy in life. 3) Women who complain of premenstrual tension were
more often unprepared or poorly prepared for menarche, were taught unfavorable
attitudes towards menstruation (as well as sexual functions, and bodily functions
in general, in some cases) and so learned to look forward to the monthly flow
with dread, and resulting symptoms.

Other authors propose a combination of hormonal and psychological factors
to account for premenstrual tension, for example, "Emotionally unstable women
often display a sensitivity to estrogen and this ability is altered by psychotherapy
and enhanced by psychic trauma (p. 232), " (Freed and Kroger, 1950). Some
of these proposals emphasize the inportance of stress, which might be generated
by fears of pregnancy as each menstrual period approaches.

A chronological review of the literature emphasizing the role of the psyche

as a causative factor in premenstrual tension follows.

25

it early YEW °l '

 

1'2:- and hear: 2 1?
sweemw=
er 2" and menstr
'nc'n'au 3912‘s, it.
we, coofimed 2'
2: so relationshi

22:22: diagrasis.

 

s-z‘2ogical disturbcnu
‘ez‘rcl disorder. ln

‘22“,- f'variahlel that

has " '
v. ‘Mh
U

“c... .ively, with

‘h-xv
.2. «as not helafu

'2 ch; emotional h

l-' -
. i’Zi‘lhenninae

32:22 i

-sc.ous reoudic
an, .. ~ -

~. fiythratrrsts h

TE.“ .2
e 'u era: as tl~

33:23:

mISCanlly,

I

In
'5 same year B
I

‘2: t
. 2M? Corral

'. O
s‘ 3"- .

s d increasi nc
iC'Easi. \

I"

\

26

An early report of findings relating psychological and menstrual disorders
by Allen and Henry (1933) stated that manics tended to have profuse menstrual
flow, depressives to have amenorrhea and schizophrenics to be irregular. The
return of normal menstrual functioning was an indication of recovery. Ripley and
Papanicolau (1942), in their study of 114 schizophrenic and manic-depressive
inpatients, confirmed the high incidence of menstrual disorders among this group,
but found no relationship between the type of menstrual disturbance and the
psychiatric diagnosis. They also confirmed the finding that improvement in the
psychological disturbance was positively correlated with improvement in the
menstrual disorder. In another study Allen (1935) reported, "Emotional status was
the only (variable) that appeared to have a definite correlation, both quantitatively
and qualitatively, with variations in the menstrual function (p. 265) . " Endocrine
therapy was not helpful, rather, therapy aimed at improving the general health
(including emotional health) of the patient, was most useful for menstrual disorders.

In 1939 Menninger stated that disturbances of menstruation could be traced to
an unconscious repudiation of femininity, and added that the maiority of neurotics
seen by psychiatrists have had gynecologic treatment. The ancient belief in the
wandering uterus as the cause of nervous disorders, he said, was an unconscious
recognition on the part of the physician that there was something wrong with the
woman, sexually.

The same year, Benedek and Rubenstein (1939a, 1939b) published their
landmark study correlating psychodynamic productions with menstrual cycle phase.
They found increasing heteroseme tendencies, activity, and object directedness
with increasing estrogen production in the follicular phase of the cycle, relaxation
and contentment at ovulation, and then increasing passive and receptive themes
with pregnancy, nursing and mothering content correlated with progesterone
production in the Iuteal phase. A reappearance of heteroseme tendencies marked
the premenstrual phase, with the reappearance of estrogen production. Their
findings for the pre-menstruum and menstrual phase were not quite as clear cut
as for the rest of the cycle, which they attributed to the lower hormonal levels

characteristic of this time. "The emotional state before the onset of menstrual

ii-isi'iuencea' by v:
2:252:22 an the has
he "end , however
era-g hormone les-
1" :"r, death and a.

2.22::‘73n. (See 015:

Sci: 7943‘, attrihu'

   
  

35‘7": canal ex , but
rec-:ir‘rih

ution in nor

freak and Rubenste

27

flow is influenced by various factors. Its complexity and acuteness cannot always
be explained on the basis of the related hormonal state (1939b, p. 465) . "

The trend, however, was toward decreasing energy premenstrually, with
decreasing hormone levels, and eliminative anal or urinary,or birth, castration,
mutilation, death and abortion themes. Menstruation was generally characterized
by relaxation. (See also Benedek, 1960.)

Daly (1943) attributed premenstrual and menstrual tension to the female
castration complex, but without supporting evidence. Daniels (1943) , studying
dream distribution in normal women over the menstrual cycle, upheld the findings
of Benedek and Rubenstein.

In 1948, Rose studied 26 college students with a menstrual questionnaire
and the Bell Adjustment Inventory. He found a correlation between premenstrual
pain and poor adjustment. The pain-free women were less depressed, less
withdrawn, more adequate and less self-conscious than those with pain. Overall,
the pain-free group distinguished itself more by superior adjustment than did the
pain group by poor adjustment.

In Duncan and Taylor's (1952) study of psychic factors in pelvic congestion,
they found a prominence of emotional disorders in these patients. Of the 36
subjects in their study, not one "described even a reasonably satisfactory
childhood relationship with her mother (p. 4). "

The subjects were described as emotionally immature with strong dependency
needs. Of those who had married, the only subjects who described their marital
adjustment as satisfactory had married "sensitive", "motherly" men. Additionally,
"In no case did the patient derive any real pleasure or satisfaction from her children,
and the care of them, at best, was accepted as an unpleasant but necessary
duty (p. 7) . "

Furthermore, these authors point out, the psychological disorder antedated
the somatic problem in these patients, and every one of the patients studied also
presented one or more extragenital complaint (e.g. headache, weakness, fatigue,

sleep disturbance, essential hypertension, neurodermatitis, etc.)

:15 'iifii‘o‘, stud:

 

mpmitive C:
3?E";S”fll tefiSiOl't.
ahrzeoipte erstrut
r1:- corresaondi'
we: enerstrual W
22:22; experience. '

flieas‘vchologicd r

 

2:219:32: General
Sctez-Murias (19

2'me

ual tension hc

“oer-ho were alread

3::i

Igical disorder
“”7 my be second
Fi‘ioiie'lSiOn, on:

" 1:1 I
"i‘v'°*°9Icol tactc
h riiisely to the
5r» !: .
“21%-Function an

’ ~ I
3' he mEfiSirqu

'fi'ia'll‘e, dii
Imp."

eDeing a V

L" “SSeTl's “‘03 I

28

Rees (l953b) studied 6i normal subjects and 84 patients at a psychiatric clinic
and found a positive correlation between severity of neurosis and severity of
premenstrual tension. School, work and marital adjustment were correlated with
absence of premenstrual symptoms. Many patients responded to psychotherapy
without a corresponding change in premenstrual symptoms. More of those with
severe premenstrual tension symptoms had found menarche to be a "severely
upsetting experience. " Rees concluded that the physiological effect was primary
and the psychological effect secondary, comparing it to the alarm reaction of
Selye's (1952) General Adaptation Syndrome.

Suarez-Murias (1953) points out that some women who have never had
premenstrual tension have it first in connection with psychiatric disorder, or, in
those who were already sufferers, their symptoms may worsen with the onset of
psychological disorder. He concedes that the psychic alteration in premenstrual
tension may be secondary to physical discomfort, amplified in a general personality
setting of tension, and refers to Selye, but he favors attributing more importance
to psychological factors. "The psychologic aspect of premenstrual tension seems
related largely to the manner in which the patient accepts psychically the
menstrual function and also to the manner in which the patient unconsciously
utilizes the menstrual function to express distress about pressing environmental
situations of life, difficult interpersonal relationships, or about her own attitude
concerning being a woman, or even about the fact of existence (p. 48l) . "

He asserts that "premenstrual tension may be relieved considerably and
sometimes permanently through psychiatric treatment (p. 482), " and believes
that the search for etiology should concentrate on how psychic factors affect
cell metabolism.

From 127 student nurses responding to a menstrual questionnaire, Lamb, et.
al . , (1953) chose five women with premenstrual tension and five without
premenstrual symptoms, for study over two cycles. The premenstrual tension
subjects "showed greater deviation from the normal in mood and activity level
not only premenstrually, but throughout the entire cycle. This group also

regularly showed a greater amount of subnormal assertiveness and demonstrated

  
   
   
  
  

1‘ :x'ESSi reness

i' Z‘. emailed pS

misw’iects: li P‘—
tEr'rg. Seventy-fir
:r:rer?stics, where:
tr‘fnaegh conflicts
file-re, they related
‘s-orierlrerseli, or

infirm {1956) fou
tester-3mm of me
fierce, that was c
has“ lp. l30). "

'm'ecction to stre

3'2?)-
' 0

”mil “92(2) pgj

29

hostile aggressiveness during the premenstrual period (p. 844 . "

In a controlled psychological study of secondary amenorrhea (Kelley, Daniels,
Poe, Easser and Monroe, 1954) therapeutic interviews with patients and Rorschach
data revealed three outstanding characteristics which distinguished them from
control subjects: 1) psychosexual immaturity, 2) oral conflict, 3) schizoid
thinking. Seventy-five percent of the experimental group showed all three
characteristics, whereas no controls did. Depth exploration with subjects revealed
that although conflicts over sexuality superficially appeared to result from fear of
the male, they related more nearly to fear of a rival female in the family, either
the mother herself, or her representative.

Paulson (1956) found in his study of 255 women that "for the high PMT subjects,
the phenomenon of menstruation was still a rather frightening misunderstood
experience, that was closely allied with a feeling of menstruation being like a
"sickness" (p. 130). " Of the subscales of his questionnaire, the one measuring
a poor reaction to stress correlated most highly (r =.631, p<.01) with premenstrual
tension.

Merrit (1962) points out that fear of pregnancy, and the increased sex drive
experienced by some women may increase their anxiety premenstrually, as may
cultural attitudes which view menstruation as unclean: "the curse."

Gottschalk, Kaplan, Gleser and Winget (1962) studied five normal volunteers
over several cycles. Each day they spoke for five minutes into a tape recorder.
The transcripts were scored for anxiety and hostility. Each subject showed her
own cyclic pattern, so none could be defined for the group. Furthermore,
environmental events influenced those factors to such an extent that a cyclic
pattern could not be found without more cycles to amplify the effect.

Coppen and Kessel (1963), in their questionnaire survey of 465 women found
irregular menstruation and premenstrual tension to be significantly correlated
with a Maudsly Personality Inventory score for neuroticism, whereas dysmenorrhea
was not.

Data taken from the psychotherapy of five women with "functional "

amenorrhea revealed: 1) repressed rage at the mother revealed by infantile

as: inn-35125 and i

33 :5: punishment i1

 

r; ‘sslztiofi {Eagles ,
1': roéyoi 191 5

exists coneiated s

. 4 a. l

are attitude corra-

fo’r: menstrual otti

$33-12th the mo:

"'erotic and pant

 

1:, and Sadr/Wk
29.2, 512926 normOl
Fen-ere asked to 599
me life experil
he; was sign ifi co n l
fiat,- ~ip<.02), difiu:
33% $.12), ends
153%: showed a dific
ttitrsistent with t
‘2‘ Times as "yea m
*2 at helplessm

ostiiiry be

32:24;

'1

30

sadistic fantasies and impulses and 2) guilty fear of inevitable loss of parental
care as a punishment for misdeeds, real or imagined, with reaction formation
and isolation (Engles, Pattee and Wittkower, 1964.)

In a study of 191 student nurses, Levitt and Lubin (1967) found psychosomatic
complaints correlated slightly (r = .2, p<.01) with menstrual complaints, negative
menstrual attitude correlated (r =.32, p<.01) with menstrual complaints, and
negative menstrual attitude and complaints were negatively correlated with
”understanding the motivations and feelings of others'I and positively correlated
with neurotic and paranoid tendencies.

lvey and Bardwick (1968) replicated the Gottschalk, et. al . , study cited
above, using 26 normal subjects aged 19 to 22. None were on oral contraceptives.
They were asked to speak into a tape recorder for five minutes a day about " any
memorable life experience. " On Gottschalk's Verbal Anxiety Scale, premenstrual
anxiety was significantly (p < .0005) higher than anxiety at ovulation. Death
anxiety (p<.02), diffuse anxiety (p<.01), separation anxiety (p<. 14), mutilation
anxiety (p<. 12), and shame anxiety (p<. 13) also peaked premenstrually. Five
subjects showed a different pattern, with peaks of anxiety at ovulation, and they
were consistent with their pattern. There was also a premenstrual increase in
such themes as "yearning for love, anxiety about being separated from love, and
a feeling of helplessness in dealing with the situation (p. 341). " A trend toward
increased hostility both outward and inward (depression) was also noted premen-
strually. There was a consistent difference between themes of self-satisfaction
at ovulation and inadequacy premenstrually.

"There was one unexpected experimental control . One 5 was interviewed
on day 14 of her menstrual cycle for an ovulatory sample. The sample was highly
anxious, yielding a score of 2.8, significantly higher than her previous score of
1.4 at ovulation. Thematically there were references to death, mutilation, and
separation. The next day, she began to menstruate, two weeks early (p.343) . "

Women reporting fewer than the mean number of six premenstrual symptoms

"reported little gratification from the sick role as a child. " These women

33322: more than e1;

 

915:5: :"1113', 01 9X?”

r‘ “Ea.

 
   

1' rather rec 9'11
22:22 reeor‘ed by 7
22222121210“?
tit-7'12 Anxiety Sec-1. .

:e’xfn's {19681 sta
222:: ne'rstrwl phe.
rg‘is: highly vari:
7"rs'rucl flow is hi:~
'Trwith short and 1

Jags-'1‘ l928. DUFln

1.23225 oi

menses, b
1:13:16! N:15l, nlC

m,
1‘ 1):qu a vari
2222*." grOUp wer
’rzrgiiant, with n
1‘5‘1'22; in short, V
.722, r. the other 1

oh-
"3’133 -
e dxile, d1

”‘9 Gcti'

\-
"WW.
, ally PTEQ

«,g'
.21

repUdlCJi’e
.21.: Show"
. LC’1

31

reporting more than eight symptoms either had been extremely gratified in the sick
role as a child, or expressed bitterness at having been neglected during childhood
illnesses.

In another recent study (Shader, et. al . , 1968) the number of premenstrual
symptoms reported by 76 female graduate students was significantly (p<.01)
related to non-situational ,1 non-premenstrual anxiety, as measured by the Taylor
Manifest Anxiety Scale.

Peskin's (1968) study relates to the more general question of the relationship
between menstrual phenomena and personality variables. Observing that cycle
length is a highly variable phenomenon within the same subject, but that duration
of menstrual flow is highly consistent, he studied personality differences between
women with short and long durations of flow, using data from a longitudinal study
begun in 1928. During adolescence, these women had had very closely similar
durations of menses, but as adults they could be divided into "short" (less than
five days, N=15), "long" (six or more days, N=11) and "precisely five days"
(N=17) . Using a variety of measures including interview data, he found that
the "short" group were more competitive, vigorous, initiating, autonomous, and
noncompliant, with more achievement oriented vocational interests and leisure
activities; in short, were more "masculine" in the traditional sense. The "long"
group, on the other hand, exhibited the extreme "feminine" position. They
were more docile, dependent, conforming, conservative, domestic, and artistic
with conserving activities and interests favored. They were also more anxious.
and somatically preoccupied than the "short" group. The "short" group, however,
did not "repudiate socially valued feminine goals and role expectations (P. 385) . "

The "short" subjects were actually rated physically more attractive,
interesting, personally charming and likeable in adolescence. "The latter
items were not included in the empirically derived masculinity-femininity
measure of the Q-sort. These omissions underscore the tendency for M-F
scaling methods to miss items implying psychosocial competence in the gender

role (since competence belongs no more to one sex than the other) (p. 385) . "

:m mast inter+
cert/Jr oi these grou:
2222.51," these m:
2':-21's oassive nee:
:2“Ted more with tL
221729 mothers.
2222:: rather thcr

'EXDlGlan‘g his

K523' below betwg

 

Tiis'ml ”'3‘”, in:

The p
Subjec!
Oi are
more :
Upon f
Oiiers-
relati
l0 ins
l0 Sir:
kibe
grOU:
iomii
med
Short
Cogn-
Ore r,
Subje
lend;
bodii

QCOPI

 

L'Z'n' Linton:

11?”? ‘
. Twig il’je k,

3&2le
iOifhe pl

—
y...
s

 

_—

 

32

Perhaps most interesting of all were the findings regarding the maternal
behavior of these groups. Although the "long " group had rated higher on

"femininity,” these more passive-receptive mothers were less able to meet their

children 's passive needs than the more "masculine short " group. "Short" mothers

identified more with their children and were closer, more protective and less
controlling mothers. ”The masculine activity of the short-menses subject seems
to energize rather than weaken a viable maternal role (p. 386) . "

ln explaining his findings, Peskin points out that the personality differences
described below between the two groups existed before the difference in duration
of menstrual flow, indicating that the menstrual cycle was channeled into

pro-established ego styles of tension discharge.

The personality integration of the long-menstruation
subjects relies an immature mechanisms in a variety
of areas. Social relationships appear motivated
more by a wish to receive than to give. Dependence
upon and influence by the environment outweigh
attempts to alter the outside world. Thinking is
relatively shallow and unreflective. Resort is made
to institutionalized codes of conduct and possibly
to simplifying moral strictures. Religiosity tends

to be more conspicuous in the long-menstruation
group. . .Not surprisingly, sex education in the
family of the long-menstruation subject is also
rated as less enlightened than in the family of the
short-menstruation subject. . . .Clearly, the
cognitive and affective areas of ego functioning
are more circumscribed in the long-menstruation
subjects. That tension under such ego restrictions
lends itself to discharge in somatic symptoms and
bodily preoccupations is consistent with the
economic viewpoint of somatization (p. 384) .

Hain, Linton, Eber and Chapman (1970), studied 65 first year nursing
students using the MMPI and a menstrual history questionnaire, and found that
irregularity of the menstrual cycle correlated significantly with premenstrual

depression, abdominal swelling, irritability and total premenstrual symptoms.

.‘r ’3 it‘uiterl, The ex fr

'-

22 :Trieresficted by 5

I
“5.0.5 on all bu‘
.cmqsml teesi or

ll.

.t.;-,'mtwe Tied 1."
I
re rd...they tense

.252
'2'

Scan 719701, stu:
2.1222: time in mer
2::i2'3rgicnl state. S
rrcmeriul efiec‘
"29222? to which it
22.2 '3. 478731. "

Shiierly, Beck (i
T15 23 charges in bi
7555111) (the six

'.
‘41"
VI

' "mtwei with'

 

' SE S'I'iiif’ioms for

522:11 (1971) , h

.‘f‘ii ‘
.S'§I=1

iican: diff.

shag" 1 =r
(mo RU5enstr

-'e

33

On the MMPl, the extremely regular group and the extremely irregular group
were differentiated by scales K, H 5, Pa, Sc and Ma.

, the irregular group having
higher scores on all but the K scale. Anxiety was also found to be highly related
to premenstrual tension symptoms. In the authors' words, the irregular group was,
"More immature and impulsive with numerous neurotic symptoms, including somatic
ones, and. . .they tended to have more difficulties in interpersonal relationships

(p- 84)." _

Byram (1970), studying 175 undergraduate college women with the 16 P.F. ,
found that time in menstrual cycle had no significant effect on this measure of
psychological state. She explains, "The menstrual cycle probably does not
exert a powerful effect on psychological states in the average college female.

The extent to which it is influential quite likely may be overcome by other
events (p. 47878) . "

Similarly, Beck (1971), in her study of 37 undergraduate college women,
found no changes in backache, headache, pelvic discomfort, tension, depression
or irritability (the six premenstrual tension symptoms most frequently mentioned
in the literature) with time in the menstrual cycle. Her subjects kept daily records
of these symptomsfor ten weeks.

Porach (1971) , however, using dream reports of 50 first year nursing students
found significant differences in dream content with cycle phase, upholding
Benedek and Rubenstein (1939a , 1939b). Furthermore, women classified
differently on a measure of masculinity-femininity had significantly different
dream content in the four phases of the menstrual cycle.

Smith (1971), studying 117 college freshman women found a high positive
correlation between a menstrual disorders score and negative attitudes, tension
symptoms, superstitions practiced and feelings of depression during the menstrual
period. In addition, there was a low but significant correlation between the
menstrual disorders score and the Edwards Personal Preference Schedule Abasement
scale (positive), and the EPPS Achievement scale (negative). The Abasement
scale best differentiated the extreme groups on the menstrual disorders scale.

"High MD Ss accepted personal pain and punishment and felt these did more

px'h‘srhcrm. 11.9?
5.222226 by own
iceberg 11971) t
.2222 section by
:22 22220425. The
22:22 charge in tin
1:22:25 Russell, 19')
222 intracellular
”313' trad-r water prerr.
I‘eemd other fir;
'12:? and Coopen I

TH9F>N3ssion.

:1
(“film 01 WE.”

up. »1

3W3 ovaries -'
raj .
'yo'm'ecr‘omy r"

""9" 933.1, andro.

1,1136; Billig On:
2221733; Kramp,
i" R"'e’ti‘ein, H
jusr’Brshnd’ e_
332: '

.“.

1“ C"2:11:11, 19'

bTetics (Ba ,

rililv
I sand K. I
In],
2 hie

“l'tri.
.mjeu ‘
. p/ °l0ne I

 

34

good than harm. They felt inferior, felt it was better to give in than to fight,
felt depressed by own inability, and felt timid with superiors (p. 6354-A). "
Herzberg (1971) took a closer look at the water retention theory of premenstrual
symptom causation by studying electrolyte distribution in 11 nuns suffering from
severe symptoms. These studies, performed while the symptoms were occurring,
found no change in the amount of total exchangeable sodium (in agreement with
Bruce and Russell, 1962) , no significant changes in the distribution of sodium
between intracellular and extracellular spaces, and a significant decrease in
total body water premenstrually, in contrast to popular theory. On the basis
of these and other findings from a group of 299 women answering a questionnaire
(Kessel and Coppen, 1963), Herzberg concluded that premenstrual tension is a

form of depression.

Treatment

 

Symptoms of premenstrual tension have been treated with varying success by:
X-ray of the ovaries and pituitary (Frank, 1931; Israel, 1938), hysterectomy
and/or ovariectomy (Thomas, 1933) , insulin plus a rich carbohydrate diet
(Israel, 1938) ,' androgens, estrogen, progesterone or testesterone (Atkinson and
Ivy, 1936; Billig and Bradley, 1946; Freed, 1945; Greene and Dalton, 1953;
Israel, 1938; Kramp, 1965; Lawrence and Werthessen, 1942; Rubenstein, B.B.,
1942; Rubenstein, H.S., et. al., 1940), vitamin A (Argonz and Abinzano, 1950),
vitamin B (Biskind, et. al. , 1944), high protein, low carbohydrate diet (Morton,
1953), diuretics (Baden and Lizcano, 1963; Bickers, 1952; Greene and Dalton,
1953; Greenhill, 1953; Kramp, 1965), medication plus psychotherapy (diuretic,
Stieglitz and Kimble, 1949; progesterone or androgen, Rees, 1953a),
psychotherapy alone (Suarez-Murias, 1953), a combination of diet and medication
(diuretic, anti-spasmodic, stimulant, vitamin Bcomplex, plus high protein, low
salt and sugar diet; Morton, et. al. , 1953), dextro-amphetamine (Hegarty, 1955),
meprobomate (Pennington, 1957), birth control pills taken in a continuous
pseudopregnancy regimine (Janowsky, et. al. , 1966a), and birth control pills
taken in the usual way (Hood and Bond, 1959) . Except for the more drastic

   
 

63:22”?! 01 smgery C

22 mewhot success

1' 2:22 years a
I
:‘z. 2' premenstrual t
:rscec‘ive Purposes;
3’3'3’ "Hood and Bor-
fee-mm] lensio'

.enz', 19701.

Time Present tim

 

MW much like 2
37599212235 Were 0‘
meme” depresses
3:711) Silli onOiiter
:1":

l
""7' PSYChologi c
7‘21

35

treatments of surgery and X-ray, which are no longer in use, all of these have
been somewhat successful. No one treatment is definitive. The etiologic puzzle

remains .

Oral Contraceptives andAPremenstrual Tension

 

In recent years a new variable has been added to the already complicated
study of premenstrual tension. With millions of women taking oral hormones for
contraceptive purposes, "the pill” has been hailed as a treatment for premenstrual
tension (Hood and Bond, 1959) , and damned for worsening the depressive effects
of premenstrual tension (Depression and oral Contraception, British Medical
Journal, 1970).

At the present time, the literature on premenstrual depression and "the pill"
looks very much like the literature on premenstrual tension before oral
contraceptives were available: one group believes the hormones in "the pill"
make women depressed, another group believes "'the pill" cures premenstrual
tension, still another group believes any depressive side effect of "the pill" to
be purely psychological and yet another group believes that depressive side effects
of "the pill" may have both psychological and physiological bases. A brief
review follows.

Hood and Bond (1959) ,1 using Enovid to treat premenstrual tension, found that
21 of 25 women obtained relief during therapy. One showed no improvement, and
three had aggravation of symptoms or severity of side effects leading to discontin-
uance. Two of the three side effects most frequently reported by women who
claimed relief of symptoms on the drug were the same symptoms reported as
premenstrual tension symptoms, namely, nausea and bloating. The authors felt
that the lower levels of natural hormone due to the drug's hormonal-suppressant
effect accounted for the success of this treatment.

In a study of 158 women delivering babies at a certain hospital, Nilsson
and Almgren (1968) were able to follow two groups, 54 women prescribed an
oral contraceptive in the postpartum period (P group), and 104 women “who used

a more conventional contraceptive technique (p. 453) " (C group).

1758 1‘1an up;
std-vegans” j:
”TIT-TIN. Tilt-GP gr:
Thirine (tithe jh'”,

 

1..T. greater number
222.21 and had me“
2:222 women who '
:2: No investigcr
2;. breastfeeding w
75222 factors whi
the: effect (:29 ,

' 1
99h ,
will \

TTTTT'D'eSI 81c

 

cm? and P058-
' Tepl'ves 0v

TTTT '0 si’Siefrrcti cc

35;. . \ .
'11 'MeSi'gare,

‘. I

36

These women underwent psychiatric interviews and psychological testing once
early in pregnancy, the second day after delivery, and once six to seven months
postpartum. The P group had been using oral contraception two to four months
at the time of the third examination . During pregnancy no difference was
observed in the groups, but postpartum the group using oral contraceptives had a
12.5% greater number of psychiatric symptoms ("neumsthenic" and "depressive"
symptoms) and had more women who reported greatly improved sexual adjustment
and more women who reported greatly impaired sexual adjustment than the C
group. No investigation was made of the reasons for choice of contraceptive
(e.g. breastfeeding would preclude the use of oral hormones as a contraceptive),
or of other factors which might interact with contraceptive choice to produce the
observed effect (e.g. career of woman, planned or unplanned pregnancy,
marital variables, etc.)

Grant and Pryse-Davies (1968) studied 797 women taking one or more of 34
oral contraceptives over a period up to six years. Unfortunately, they made no
attempt to systematically study depression and libido changes during this time,
using physicians' reports from regular patient contacts as the basis for their
findings that the highest incidence of these changes is with strongly progestogenic
compounds and the lowest incidence with strongly estrogenic sequential drugs.
The study investigated histochemical changes in the endometrium of these patients,
and upheld the authors' theory that strongly progestogenic compounds have a high
monoamine oxidase activity for most of the cycle, while the strongly estrogenic
drugs have a weak monoamine oxidase activity for most of the cycle. The authors
point out that monoamine oxidase inhibitors are used for treating depressive states
and, therefore, it would be wiser for the physician to choose a strongly estrogenic
oral contraceptive and avoid a highly progestogenic one if he wishes to avoid
depression as a side effect of oral contraception in patients. Interestingly, the
authors report, "premenstrual tension, which was a common complaint before the
trial, especially in older women, almost invariably improved (p. 778) . "

Lewis and Houghughi (1969) compared a group of 50 working class women on

oral contraceptives with another group of 50 who had never taken oral

313311395, usi'tg CiT
3:15, None at the war
2:2":22212 number des :.
:22.

'21 had that mar
:21, and that those
rdetpes 01 pi1ls, i
:2"i~:ecorre1ation was
.22 intensity of depr
5721971, who taunt
't’rr-en who were so”?

335.3311, 00d 1W0 110:1

 

E’s, "loss of libido
2:22:31 groups, sag]:
351: sheet. T
'1": study comparir
‘5'": 31731201 methods ,
"'91 the group meat
hie-tenths percent .
3Tit-"1‘ dearesed thor
Tia 1° ”‘8 day or h
Th 1"” ihese dr

7‘".
I 3'
127,99 01 Ol’Ol C1

37

contraceptives, using clinical assessment by a psychiatrist and the Hamilton Rating
Scale. None of the women in either group had a history of psychosis, but "a
considerable number described past depressive episodes (p. 697) , " most of short
duration.

They found that more women on oral contraceptives were depressed than the
controls, and that those on pills high in progestin were more depressed than those
on other types of pills, in agreement with Grant and Pryse-Davies (1968) . A
positive correlation was also found between the length of time on the medication
and the intensity of depressive symptoms, in contrast to Herzberg, Johnson and
Brown (1970) ,1 who found no relationship. More significantly, however, _a_l_l_
the women who were suffering from severe depression had a previous history of
depression, and two had attempted suicide, unknown to their family doctor. In
addition, "loss of libido was very general (p. 700), "but equal in the experimental
and control groups, suggesting that some other factor than the drug was responsible
for this effect.

In a study comparing 168 women using oral contraceptives with 93 women
using physical methods, Herzberg and colleagues (1970) found no difference
between the group mean scores on Beck '5 self rating scale for depression. Six
and six-tenths percent of the oral contraceptive group, however, were more
severely depressed than any of the control group subjects. This effect was
limited to the day or two preceding menstruation, a puzzling finding in view of
reports that these drugs relieve premenstrual depression. In addition, they found
that the type of oral contraceptive was not significantly related to the depression
score, a finding which conflicts with those of Pryse-Davies (1968) and Lewis
and Houghughi (1969).

In another study, Herzberg and Coppen (1970) compared 152 women taking
combination estrogen-progesterone oral contraceptives with 40 controls using
"cap" or "sheath" methods of birth control . They found a marked diminution of
premenstrual depression and irritability among women taking oral contraceptives,
though other premenstrual symptoms such as headaches and swelling remained
unchanged. The women who developed depression and irritability as side effects

(6 % of those on oral contraceptives, as compared with 2% of the controls) had

  
  
  
 

{fa remoticism and
2‘:": "pill” group as
{22222: or severe de
scattered with 27% o
52:32 women who ho:
have side effects :2
'31: very much like a 1

1.: a: attempt to un=

 

teased three cattlgitt'ie
ézsdirectly due to i
flamed self observ
22;:ui‘ are now ottri
2219. These will r
1'2». Such expectatic
inure, as well as 1

Three major side
352i libido, and
rr‘allow—up at 10C
1‘2: concluded th:

3‘.
:._:€ T031"

eiiect ‘
r-Vere l‘mvinc

.31; For ”1811’ 011

38

higher neuroticism and extraversion scores on the Maudsley Personality Inventory
than the "pill " group as a whole. This same group also had an increased incidence
of moderate or severe depression premenstrually before starting "the pill " (47%,
as compared with 27% of the "pill " group as a whole) . After 11 months, 20 .4°/o
of those women who had started had discontinued their use of oral contraceptives.
Most gave side effects as the reason for discontinuance. The list of side effects
looks very much like a list of premenstrual tension symptoms.

In an attempt to understand side effects, Bakker and Dightman (1966)
proposed three categories of side effects of any drug: 1) pharmacological
effects directly due to the drug '5 action in the body; 2) "scapegoat" effects due
to increased self observation, and thus noticing symptoms which were present all
along but are now attributed to the drug; and 3) suggestion-induced effects of
the drug. These will reflect expectations the user has acquired concerning the
drug. Such expectations may come from the physician, friends, and popular
literature, as well as other sources.

Three major- side effects attributed to norethynodrel: 1) weight gain,
2) loss of libido, and 3) depression, were investigated in this study, a four
year follow-up of 100 patients using the drug for contraceptive purposes. The
authors concluded that, in most cases, weight gain was a "type two", or
"scapegoat" effect. That is, women who blamed the drug for weight gain
already were having trouble trying to keep from gaining weight. They blamed
the drug for their already present problem, rather than facing the fact that they
were eating too much. Thirty percent of the group experienced some weight
gain due to fluid retention, 0 "type one" effect. Loss of libido was found not
to exist in this group. Women reported no change in sexual interest, but
increased frequency of intercourse due to the safety and convenience of this
form of contraception. There was no change in the frequency of orgasm. Two
women were exceptions to this. They reported decreased interest in intercourse
because the risk of pregnancy had been part of the excitement of intercourse
for them. The third symptom studied, depression, was evaluated with the
depression subscale of the MMPI (five times during the study) and interviews

tl‘ he patients. The

simian for brief 2

 

tee ‘ew cases it tu*
the situational Chan;

h
{2225in the author

When ttT
were co
ephodes
to the 2'
rather, \
which 0
with too
resource

 

Women

depress'
doing 5
ittctors

T'TTeriSIIflgly’ 111E

w‘.’ '

TTTT' 181”bitten w

TT""‘T‘°'%nce of
fr. ‘
.3113 and P 90

.' T l
g, 15‘ r

e.

39

with the patients. The MMPI showed no changes. There were some verbal reports
of depression for brief periods, a few of which required psychiatric consultation.
In these few cases it turned out that the patients had had similar episodes before
or had situational changes to account for their depression. Of the other reports
of depression the authors said:

When the statistical data and the clinical information

were combined, it became clear that the depressive

episodes encountered in our subjects were not related

to the pharmacologic action of norethynodrel, but,

rather, were similar to the brief periods of depression

which one commonly encounters in young housewives

with too many small children and too limited financial

resources. Contrary to this opinion, however, the

women themselves tended to blame the pills for their

depressions ,and seemed to feel more comfortable in

doing so rather than having to consider personal

factors as responsible for their depressions (p. 378).

Interestingly, the women who had severe fluid retention on the drug had no
difference in depression or-tension either clinically, or on the MMPl,between
periods of fluid retention (on the drug) and normal times (off the drug). A
group of 18 women who went off the drug for a month as a control reported a
higher incidence of premenstrual tension during this time.

Kroger and Peacock (1968) studied 53 women started on oral contraceptives,
20 of whom were emotionally disturbed (neurotic or pre—psychotic) . Forty percent
of the disturbed group reported side effects as compared with 21.2% of the
other group.

In a study of seventy two women prescribed oral contraceptives at family
planning clinics at two hospitals, and followed over 15 months. (Murawski,
Sapir, Shulman, Ryan and Sturgis, 1968), the authors concluded: "Some patients
did undergo depressive states. In most instances these could be linked, not to a
pharmacologic action of the steroids, but to the disillusionment of magical
phantasies about changes the pill was expected to produce (p. 61) . "

Case histories were given to illustrate how the oral contraceptive interacted

with the patient's feelings and life situation to produce the effects. One woman

I 1
:Tsson‘hueé the TP‘H'

 

It"? " PT’XOfiec' W111". 1'

 
 
   
 

0 II I,

first), she said, 1‘;
92:55:22 9 months
lather interesting

".2‘§g:‘ed husband-w.

a.
PP

.1116 CO‘ p185 wei
25213.11 Cofiii’JV—QPITW
.-.:. while nine disco'
r3135, and SO did
22.: “the pill" WEYE
2.22.tu and soci
They also preferre
feastinued. Husbar
mien and reputat
retarded to impr
142122 who discont
1‘52 Who contim
1T“: authors poi
hifijtion and r

TTT‘TI ilnn th

Ale
1:“!
' “3 Woman
29a.»

40

discontinued the "pill‘I to switch to a diaphragm, which she then didn't use.
When confronted with the distinct possibility that she would become pregnant
this way, she said, "Now I will have something to show for the depression and
tiredness after 9 months (p. 58) . "

Another interesting study (Ziegler, Rodgers, Kriegsman and Martin, 1968)
investigated husband-wife interactions in relation to contraceptive practices.
Thirty nine couples were studied over four years starting just before their first
use of oral contraceptives. Fifteen of these wives used "the pill" throughout the
study, while nine discontinued permanently. Side effects were equivalent in
both groups, and so did not predict who would discontinue. Wives who continued
to take "the pill" were described as, "relatively more responsible and more
intellectually and socially effective than their husbands (p. 849 . "

They also preferred sex more often relative to their husbands than wives who
discontinued. Husbands of wives who discontinued were more concerned about
propriety and reputation. The psychological functioning of both husbands and
wives tended to improve in couples continuing the use of the pill as compared
to those who discontinued. Depression decreased and sexual interest increased
in those who continued.

The authors point out, "the issues of who should be responsible for
contraception and who is going to gain the most from it seem to be much more
important than the question of how severe the side effects are. . . (p. 853)."

If the woman sees sex as being primarily for the benefit of the husband, she
will reject the pill, as it only removes an excuse for her refusal of intercourse.
Indeed, there were three "unplanned" pregnancies in the ten couples who
discontinued permanently or temporarily.

Lidz (1969) explores more deeply some of the issues raised by Ziegler and
colleagues (1968) . She points out that oral contraceptives and lUD's, the two
safest means of contraception, both suffer from similarly high rejection rates,
with women complaining of lethargy, decreased libido and depression, and
recovering when the contraceptive is discontinued. The similarity of reactions

to these two types of contraception indicate "that these depressions have

2.52532: roots and o

2'12) 'p. 7631.“

1' interviewing suc

 

'2': :hiidren tor heclt?

 

41

psychologic roots and occur as a result of frustration over the interference with
fertility (p. 763 ."
ln interviewing such depressed women who were well motivated not to have

more children for health or financial reasons,

Two types of conflicts were revealed in their
spontaneous conversation: (1) frustration with
having sexual intercourse "for no purpose” and
(2) guilt, as indicated by their fears that the
pills were abortifacient (even though they had
been well informed on the function of hormone
pills) and preoccupation with "clots" in their
menstrual blood which they considered as
evidence of an abortion. These attitudes of
frustration or feelings of guilt and the lack of
libido and sexual satisfaction when using
contraceptives seem to indicate a desire for
pregnancy and/or a child, despite the conscious
wish not to become pregnant. . . .When we
take into account the complex role of woman
as a love object, wife, expectant mother, and
mother,and consider her adjustment to these
facets of her role at different times of her life,
we may better understand why some women
react with serious depression and others with
delight and increased sexual interest to the
new "safe" contraception. We also must recog-
nize that previous contraceptive measures such
as the rhythm method, condom, or diaphragm
allowed for greater chance, fantasy, and hope
of impregnation, whereas the new methods,

if applied correctly, amount to temporary
sterility and perhaps-in the feelings of certain
women - to impotence. Just as we have seen
sterile women attending the infertility clinic
become upset when they become pregnant, we
now see women get upset when they are too
safe from pregnancy, even though they
consciously do not want another child (p.764-765) .

Lidz advises, therefore, that a careful evaluation of the couple's
attitudes toward infertility, sexuality, pregnancy, childbirth and parenthood

be made in choosing a contraceptive. High motivation for effective contraception

S‘ '21? Overcome 01”":

 

1:796 . counleIS O 5

 
 
 
  
 
  

121$ life adverse re:
1.1521711.“
Lsitt,Kooi1<err 0'
median. and <19?“
:2 hr months. Sula.
3'2; 2‘6? N no COHII'C
er'rs'rip between 013
.222: data and spont
2'2: at the end of r
'c :onnents concer
1‘; 31 he week , stror
533112225 subm
erg
1‘2, and was thus cl
2:21:75 deriving

rathermore, the

'
r~

42

can help overcome obstacles, but may not always be enough if psychological
obstacles go unrecognized. "Whenever the contraceptive - however rationally
indicated - counters a strong emotional need or undermines a neurotic adjustment,
we may find adverse reactions in wife and husband, frequently leading to marital
trouble (p. 771) . "

Levitt, Kooiker, and Norton (1970), studied the relationship between oral
contraception and depression using the Depression Adjective Checklist weekly
over four months. Subjects on oral contraceptives did not differ from controls
using other or no contraceptives on the DACL during the study. There was no
relationship between DACL scores and length of time on the drug. A sheet for
personal data and spontaneous comment was filled out by 125 of 131 experimental
subjects at the end of the study. From this the authors concluded: "Overall , the
many comments concerning the effects of everyday life stresses, time of day and
day of the week, strongly indicate that if the contraceptive regimen had any
effect, it was submerged by other, more salient features affecting the emotional
state, and was thus of trivial consequence. This inference supports the
conclusions deriving from statistical analysis of the data (p. 178) . "

Furthermore, their data indicated that depression scores were greatest at the
end of the menstrual period when the hormone level would be M. If anything,
then, the data suggests "that the Pill actually reduces depression during any one -.,_-
cycle (p. 179)."

Another recent study (Kutner, Phillips, and H009, 1971) attempted to
answer two questions: 1) Do women who select oral contraceptives have a
predisposition to depression or other psychopathology? and 2) Do women become
depressed after the first few months of drug use?

The MMPl was used to study 32 "never-users" age matched with 49 "pill
choosers. " Women were tested before and three months after starting the drug.
The MMPI failed to distinguish between the "pill choosers" and non-choosers.

It also showed no'significant changes in depression three months after starting the
drug. There was, however, a significant improvement in premenstrual moodiness

and irritability among women taking oral contraceptives as measured by a

questionnaire .

 
    

311229212, Brast,
12:25 in a double-131'
2:25:12. 11:11 the g
1: 33155; the other h:
brats the fluctuat'.
earth's early findi
52".": cycles were sho ;
1“.“ menstrual Sympt

a: :e‘ention. The d

 

meted: reported fl
2:12:21 rebellious .

3‘22 Three methods 12

‘ee‘assonly a weak

Wes, and no cone

is.

1:. iaige‘s 1.1971)

T'TT‘J‘IOU type of o

te‘srd that natural

43

Silbergeld, Brast, and Noble (1971) studied mood, behavior and symptom
changes in a double-blind study of eight women taking Enovid or a placebo over
four cycles. Half the group took Enovid for two cycles and then the placebo for
two cycles; the other half took the placebo first and then the drug. The authors
found that the fluctuations in mood during the placebo cycles upheld Benedek and
Rubenstein's early findings (1939a, 1939b) of the sexual cycle in women. The
Enovid cycles were shorter and more regular and were accompanied by relief of
painful menstrual symptoms, and by increased symptoms of nausea, drowsiness and
water retention. The drug also seemed to have a mild tranquilizing effect, in
that subjects reported feeling more drowsy, less irritable and less angry, bold,
defiant and rebellious. No increase in depression was found during Enovid cycles.
Of the three methods used to assess mood and behavior (FAT, self-report, interview),
there was only a weak correlation between the interview and the other two
measures, and no correlation between self-rating measures and the Free Association
Test.

In Paige's (197]) study of 102 women using no oral contraceptive, a
combination type of oral contraceptive, or a sequential type of oral contraceptive,
she found that natural menstrual cycles produced a U-shaped pattern of negative
effect, while women using combination oral contraceptives showed no cyclic
affective changes, as measured by the FAT. Total negative affect, and anxiety
and hostility totals, did not differ in the different groups. Women using the
combination had a reduced menstrual flow. The author comments:

The empirical relationship between the intensity of
menstrual flow and the magnitude of menstrual
anxiety thus raises the possibility that emotional
disturbances most often associated with menstruation
are a socially mediated response to a woman's own
bodily functions. The woman perceives the bleed-
ing, must take sanitary precautions, and becomes
anxious in social situations because of possible
embarrassment. This is, of course, a hypothesis
which is contrary to most medical opinion on the
causes of menstrual distress. Nevertheless, the

results of this study suggest that it may in fact be
true, particularly for menstrual anxiety.

further

 

  

dxfine
be sign'.
Women

report r
lhose v
flow, 1
and i9
. . .‘u‘ t
recsor
llon C
Vega“
(depr
that

fluct

- - .A

that
Ollwe
is c
ms.
the
bio
50c
’9.

44

Further analysis provided a number of reasons
to suggest that menstrual distress is related to
the intensity of menstrual flow. First,sexual
abstinence during menstruation was shown to
be significantly related to flow intensity.
Women experiencing normally heavy flow,
whether or not they used oral contraceptives,
were almost twice as likely to abstain than
women experiencing a reduced flow. Further
examination also showed that sexual abstinence
could not be accounted for by the degree of
physical discomfort at menstruation: Women
who did not abstain were iust as likely to
report me—nfirual physical discomfort as did
those who abstained. Reduced menstrual

flow, then, is associated with lower anxiety
and ignoring the menstrual sex taboo.

. . .While the social explanation seems
reasonable for menstrual anxiety, replica-
tion of the Grant and Pryse-Davies results
regarding group differences in hostility
(depression, anger and irritability) suggests
that one aspect of the menstrual cycle mood
fluctuations may be biochemically determined.
. . .At present, of course, one can only state
that the activity of MAC as well as that of
other biochemical agents (eg, adrenocorticoids)
is correlated with observed emotional changes.
The direction causality is still unclear. Indeed,
there is abundant evidence to suggest that
biochemical changes occur in response to
socially mediated emotional changes. . .

(p . 533-534) .

 

 

 

 

STAT

CHAPTER TWO

STATEMENT OF PROBLEMS AND HYPOTHESES

ll xl

v.“ w- ‘8‘-

lhorough review
:Ermlved. A ma”
'::a:'osyclrologlcol ?
gal cmcunence be‘

:55": that degree or

 

 

flashes. Evidence
.::33,5plll<en, Nam
31:: and Levine, l9
'npremenstrual te:
warren low in pre:
wasor. of their neur
“all slgnllloantl y

isecood, related

I ,

F“ 30 oreorly'

7”" "insanily , n th
W l‘ l“ 0* the tin

:‘raresolts, (“deg

.-_l at ' .
.lilC hOle‘to‘ Q

3":3'“‘ I

' 'lgllo'oglcol |
‘I ..
mmmVG of h .
s y'

:Ja I .

- I3
STE-50rd Perso.

2?: 273%
ye °CCur la
Eli's;

The Problems

 

A thorough review of the literature presents the reader with several problems
so far unsolved. A major one is the meaning of the correlation between gynecolog-
ical and psychological ill health. Although evidence is increasing that there is a
general concurrence between physical and mental illness (Schwab, 1970), it is not
clear to what degree one precipitates the other or both occur together as a result
of life stress. Evidence for the latter view of medical illness, is recent, but growing
(Jacobs, Spilken, Norman, and Anderson, 1970; Kasl and Cobb, 1970; McKegney,
Gordon and Levine, 1970; Raab, W., 1968). Problem I then, is: Are women
high in premenstrual tension more neurotic, or less well adjusted, emotionally,
than women low in premenstrual tension, and is their premenstrual tension a somatic
expression of their neurotic conflict? If this question can be answered successfully
it should significantly affect the treatment of premenstrual tension.

A second, related problem area is the effect of menstrual cycle phase on
personality testing. If the personality of the woman high in premenstrual tension
is affected so greatly by menstrual cycle phase as to be called at one extreme, a
form of "insanity, " then it would be crucial to know what menstrual cycle phase a
woman is in at the time of personality testing in order to understand the significance
of the results. Indeed, it might help to explain the increased frequency of
psychiatric hospital admissions in this phase and the more general difficulty of
doing psychological research with female subjects, whose results tend to be
non-supportive of hypotheses confirmed in research with males. Problem ll, then,
is: Does a significantly different personality picture emerge when subjects are
given standard personality tests during different menstrual cycle phases? Does
this change occur to a greater degree in women high than in women low in
premenstrual tension?

The third problem area is provided by the recent research on the interactions
between menstrual cycle phase and oral contraceptive hormones, and their relation
to mood changes. The findings of this research seem to indicate that many women
feel freer of premenstrual tension symptoms while using oral contraceptives, some

feel no different, and some feel worse, becoming somatically distressed or

46

my? to the point a

maestro convinc I
the: to tire woman 's
at: any hormonal e‘

attentive interact .

."te ipothfifi bel
art-He :nrwers to the
:I Are women
first, emotionally,
rational tension 0 l

HYDOiltesis
\

 

mtitrated by the
NIH be Cl‘tdmch
lllOn Women loy

a'm'SCllC Cl} and '

med high morr
‘vfiriables;

MS) 19¢
mar, 0M.

47

depressed to the point of discontinuing the medication. Some of the work in this
area presents a convincing case for the vieWpoint that such adverse reactions are
related to the woman's psychological reaction to the oral contraceptive, rather

than to any hormonal effect. Problem Ill, then, is: How does the use of an oral

contraceptive interact with any effects found in Problems I and II?

Hypotheses

 

The hypotheses below have been designed to offer operationalizable and
testable answers to the problems discussed above.
Problem I: Are women high in premenstrual tension more neurotic, or less well
adjusted, emotionally, than women low in premenstrual tension, and is their
premenstrual tension a somatic expression of their neurotic conflict?
Hypothesis IA. Women high in premenstrual tension (PMT) as
measured by the Menstrual Distress Questionnaire (MDQ) (Moos, 1968) ,

will be characterizedas more neurotic or less-well functioning

 

than women low in PMT by a trained clinician evaluating their
Rorschach and TAT protocols. Women high in PMT will be
rated high more often than women low in PMT on the following
variables:

Neuroticism
Hypochondriasis
Conflict over femininity
. Hysteria

Depression

(”#de

and will be rated low more often on the following:

6. Ability to use personality resources
7. Maturity

Hypothesis l B. Women high in PMT will have a higher frequency

 

of the following Rorschach characteristics (Beck, Beck, Levitt, and
Molish, 1961): indicativeref-psychopathology, immaturity, general and

bodily anxiety, or reduced ego functioning, compared to women with low PMT:

 

and a lover fie

H‘ Dot -
Y\hesr

COntajn "tore r

HVDothe.
Tenors; 0nd c

' a

5:3!

48

. Anatomical responses

. Blood responses

"Castration" material (e.g. , figures with amputated,

missing, or mutilated heads, arms, legs; cuts,

wounds, scars, etc.) (Schafer, 1954)

4. "Penetration of Boundary" responses (Fisher and
Cleveland, 1968)

5 "Anal" or "messing" material

6. Animal responses (A%)

7. Popular responses (P%)

8. F-, Y and V responses to card VII

9

0

CAN—1

. Higher ratio of C and CF:FC

. Poor form more often associated with color
(M.FC-, M.CF-, FC-, CF-)

11. Use of texture (T) as a determinant

12. Use of vista (V) as a determinant

13. "Color shock" (Phillips and Smith, 1953)

14. "Hysterical verbalizations" (Schafer, 1954)

15. Refusal to look at cards

and a lower frequency of the following Rorschach characteristics:

16. "Barrier" responses (Fisher and Cleveland, 1968)
17. Good form level (F+ and M+)
18. Use of movement (M) as a determinant

Hypothesis 1 C. Women high in PMT will tell TAT stories which

 

contain more of the following than the stories of women low in PMT:

1. Dysphoric affect

2. Suicide, murder, mutilation, bodily harm

3. Unsatisfactory interactions between the heroine/hero
and her/his mother

4. Instances of illness

5 Instances in which the outcome is determined by "fate",
or forces beyond the control of the heroine/hero

Hypothesis 1 D. Women high in PMT will make more self-disparaging

 

remarks and ask for instructions from the examiner more often than women
low in PMT ,
Hypothesis I E. There will be a positive correlation between PMT

 

scores on the MDQ and number of visits to a physician in past year.

"‘"l

- n A,.,. v r—._w .-

 

5159: ll: Does o si'

   
 
  

 

region standard pe
:ld‘r‘zsge occur to o
reestrual tension? _
Hypothesis

phase of their .

protocols from

 

when testing r_

'-')’!>othE

Nlll OPDEQr

s
er - ,

e” lestrm

49

Problem 11: Does a significantly different personality picture emerge when subjects
are given standard personality tests during different menstrual cycle phases? Does

this change occur to a greater degree in women high than in women low in

premenstrual tension?

Hypothesis II A. Rorschach protocols of women tested in the premenstrual
phase of their menstrual cycle will appear more pathological than the
protocols from the some women tested in the intermenstruum.

When testing is in the premenstruum:

1. Overall functioning as assessed by a trained
clinician evaluating the protocols will be
somewhat poorer when each women is
compared with herself.

2. Rorschach "Barrier" scores will be lower.
3. Rorschach "Penetration of Boundary" scores will
be higher
4. There will be a higher frequency of the following
responses:
0. Blood
b. Anatomy
c . "Castration" material
d. "Anal " material

e. "Poor form" (F- and M-)
5. There will be a higher frequency of the use of
the following determinants:
a. Shading (Y)
b. Texture (T)
c. Vista (V)
d. Color (C, CF and FC)

Hypothesis II B. TAT protocols of women tested in the premenstruum

will appear more pathological than the protocols from the some women

tested in intermenstruum.
When testing is in the premenstruum:

1. Overall functioning as assessed by a trained
clinician evaluating the protocols will be
somewhat poorer, when each woman is
compared with herself.

llyoothesis
*‘fi
Drotocols will r

 

to the woman in

50

2. TAT stories will contain more of the following:

a. Dysphoric affect

b. Suicide, murder, mutilation,

bodily harm

Illness

. Outcomes determined by "fate", or
forces beyond the control of the
heroine/hero

Hypothesisll C. A trained clinician using both Rorschach and TAT

0.0

 

protocols will more often give a high rating on the following variables
to the woman when tested premenstrually:

1 . Neuroticism

2 . Hypochondriasis

3. Conflict over femininity
4. Hysteria

5. Depression

and a low rating on:

6. Ability to use personality resources

7. Maturity
Hypothesis II D. Women will appear more depressed when tested

 

premenstrually than when tested intermenstrually on the Self-Rating
Depression Scale (Zung, 19650, 1965b, 1967).
Hypothesis II E. When women high in PMT are compared with

 

women low in PMT, fluctuations in test response with cycle phase will be
greater in the former than the latter.

The mean differences in the test responses specified in II A through II D,
above, between the intermenstrual and premenstrual will be higher for
the high PMT group than for the low PMT group.

Problem Ill: How does the use of an oral contraceptive interact with any

 

effects found in Problems I and II?

Hypothesis III A. Women high in PMT who also use an oral

 

contraceptive will be rated higher on:

Neuroticism
Hypochondriasis

. Conflict over femininity
Hysteria

Depression

UI-hOON—I

and lower on:

than women hi

H'r’DOlheSl:

 

contraceptive

and lower on:

in” Women lo.

H\ h -S
M
c”massive l

Cl"'mCle'l’lSllc:s

 

and lower on:

6.
7.

51

Ability to use personality resources

Maturity

than women high in PMT who do not use an oral contraceptive.

Hypothesis III B. Women low in PMT who also use an oral

contraceptive will be rated higher on:

and lower an:

01-5de

. Neuroticism

Hypochondriasis

. Conflict over femininity

Hysteria
Depression

6. Ability to use personality resources
7.

Maturity

than women low in PMT who do not use an oral contraceptive.

Hypothesis III C. Women high in PMT who also use an oral

contraceptive will have a higher frequency of the following Rorschach

characteristics than women high in PMT who do not use an oral contraceptive:

1.
2.
3.

o~ooo\ro~ur-r:-

1

Anatomical responses

Blood responses

"Castration" material

"Penetration of Boundary" responses
"Anal" or "messing" material
Animal responses (A%)

. Popular responses (P°/o)

F-, Y and V responses to card VII

. Higher ratio of C and CF:FC

. Poor form more often associated with color

(M.FC-, M.CF-, FC-, CF-)

11. Use of texture (T) as a determinant

12.
13.
14.
15.

Use of vista (V) as a determinant
"Color shock"
"Hysterical verbalizations"

Refusal to look at cards

and a lower ire

 

 

“"d 9 lowe

"Enthe

52

and a lower frequency of the following Rorschach characteristics:

16. "Barrier" responses
17. Good form level (F+ and M+)
18. Use of movement (M) as a determinant

Hypothesis Ill D. Women low in PMT who also use an oral

 

contraceptive will be rated higher on the following Rorschach characteristics
than women low in PMT who do not use an oral contraceptive:

. Anatomical responses

Blood responses

"Castration " material

"Penetration of Boundary" responses
"Anal" or "messing" material
Animal responses (A%)

Popular responses (P%)

F-, Y and V responses to card VII
Higher ratio of C and CF:FC

Poor form more often associated with color
(M.FC-, M.CF-, FC-, CF-)

11. Use of texture (T) as a determinant
12. Use of vista (V) as a determinant
13. "Color shock "

14. "Hysterical verbalizations"

15. Refusal to look at cards

O‘OmVOU'r-FUN—I

d

and a lower frequency of the following Rorschach characteristics:

16. "Barrier " responses
17. Good form level (F+ and M+)
18. Use of movement (M) as a determinant

Hypothesis III E. Women high in PMT who also use an oral

 

contraceptive will tell TAT stories which contain more of the following
than the stories of women high in PMT who do not use an oral contraceptive:

1. Dysphoric affect

2. Suicide, murder, mutilation, bodily harm

3. Unsatisfactory interactions between the heroine/hero
and her/his mother

4. Instances of illness

5 Instances in which the outcome is determined by "fate",
or forces beyond the control of the heroine/hero

Hyaothes’

 

contraceptive

loll-owing than

 

on oral contra:

 

53

Hypothesis III F. Women low in PMT who also use an oral

 

contraceptive will tell TAT stories which contain more of the
following than the stories of women low in PMT who do not use
an oral contraceptive:

1 Dysphoric affect

2. Suicide, murder, mutilation, bodily harm

3. Unsatisfactory interactions between the
heroine/hero and her/his mother

4. Instances of illness

5 Instances in which the outcome is determined
by "fate", or forces beyond the control of
heroine/hero

Hypothesis lll G. Women high in PMT who also use an oral

 

contraceptive will make more self-disparaging remarks and ask for
instructions from the examiner more often than women high in PMT
who do not use an oral contraceptive.

Hypothesis Ill H. Women low in PMT who also use an oral

 

contraceptive will make more self-disparaging remarks and ask
for instructions from the examiner more often than women low in
PMT who do not use an oral contraceptive.

Hypothesis III I. Women high in PMT who use an oral

 

contraceptive will have higher depression scores intermenstrually,
and lower depression scores premenstrually, on the Self-Rating
Depression Scale, than women high in PMT who do not use an
oral contraceptive.

ijothesis Ill J . Women low in PMT who use an oral

 

contraceptive will have higher depression scores intermenstrually,
and lower depression scores premenstrually, on the Self-Rating
Depression Scale, than women low in PMT who not use an oral

contraceptive .

. i
.- "v ———-.,—_a

Hpothes’
cmtraceptive
cycle phase t'c
oral contrace:

Hj/Dothesi
contraceptive
Wile Phase th

CChittaceptive.

 

54

Hypothesis III K. Women high in PMT who use an oral

 

contraceptive will have less fluctuation in test response with
cycle phase than women high in PMT who do not use an
oral contraceptive.

HLpothesis III L. Women low in PMT who use an oral

 

contraceptive will have less fluctuation in test response with
cycle phase than women low in PMT who do not use an oral

contraceptive.

CHAPTER THREE

METHOD

3351HT SETBAHD

lII’l l'.‘ f‘/\

I
‘erale students rr

 

Camillj’, Moos' (1'?
3:2:lerentary lnforrnc I
{sire Participar

use on "the questionr.

 

was confidential l y.
74:52, 26‘ guestionr
'aiort. Two respor
are? menstruation;
Wiring questio

he four highest .
eazlso single, had
"7'59 0i oral co
med by Phone t

This 7
on mi
lDSt 5
NOW
Stud)
me e
Ther
1’Wo

METHOD

S ubj ects

Female students in three undergraduate psychology classes were asked to complete I
voluntarily, Moos' (1968) Menstrual Distress Questionnaire and a Menstrual Cycle
Supplementary Information questionnaire (Appendix I) which were distributed during
class time. Participants were asked to give their student numbers but not their
names on the questionnaires, and were assured that all information would be
treated confidentially. 1m hundred (and; four students volunteered to participate.
Of these, 26_guestionnaires could not be used because they were incompletely
filled out. Two respondents were pregnant, and one was lactating and had not yet
resumed menstruation; these questionnaires were also excluded from the analysis.
The remaining questionnaires were scored for premenstrual tension .

The four highest and four lowest scoring women who still lived in the area and
were also single, had never been pregnant, and could be matched for age and use
or non-use of oral contraception were contacted for further study. All were
contacted by phone by the author as follows:

This is Betty Seagull. You filled out a questionnaire
on menstruation I handed out in Dr. '5 class
last summer.

Now I would like to ask for your further help in my
study, as you have been selected for part two. Let
me explain what your participation would mean.
There will be two sessions, from one and a half to

two hours long, which will take place about six weeks
apart. You will be paid five dollars for each session,
and every attempt will be made to schedule them at
your convenience. In addition, I would like someone
who sees you often and spends a lot time with you,
such as your roommate or boyfriend, to fill out a

short questionniare about you on each of the two days
you are seen.

 

Any questions were then answered, and the first appointment arranged by

determining the subject's menstrual cycle phase.

As shown in Table 2, subjects ranged in age from 19 to 23 years. The study

was designed to counterbalance time of first testing; testing two of the high

56

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

EDDL WCQEUL h
OZ EDD...nC0E..0.C. MN NW N N 02 e l ~N Ch
0>IQOUWL~COU DEInIO. 3...: OUAX 0500» 0100 0>2QOUD¢COU ”with: LnLuK 0m< OLDUn
.550 .003 to Genuil 002 500.733..“ .20 an3 k0 Chewing GQE
l r I.l ll l I.llrll I I l; I ,zWrDIUruomwrmr “URI—i. I gold. ll r . r 0 Ir. ~ it t I llrlll .r r Ir I .llr allw.§OIUt.AVH r .GQE P\\rm\\l\

.2033... 9.28.— acooom ace 3.: or: 0.0 9:: of

cuoiog 03.300228 :20 ca 053 canon m euoiam *

 

 

 

 

omdN mmé.‘ mwdw mnfii mcoo<<

mo> E23..mcoE.aE_ om mv I mo> EnatmcoE.2c_ ON 09 o

3> EastmcoEoi 2 D. 0 mo> EastmcoEoi om 59 U

oZ 832558.35 0N nv m * oZ Eastmcan.c_ om mm: m

02 E::..$coE..oE_ mm mm m oZ Eastmcoefin. pm at <
03.332200 9.53 E: om< Boom pace 32182.5... 928. one. om< 9.00... eaou
.20 mom: $0 893 002 .0033 :20 new: we 03;... 002 303.6

 

muflhoom 002 30.-

 

e208 an: as...

 

meta»... EE .._o 03.3 o_oxU _gtmcoi ace o>=aoootcou .20 ca *0 a»: .om< co rebum 002 33 1:0 :9: *0 9.2202

 

N was

57

Lu

v-a-r_.-_

5.-.... -“-“..15.

-~a~4a—. . .

'." - L’."

I!
IT\-

 

v)‘

II.

v.0", ' '.

 

l\' 515

 

grertflfid two of the

is is. the premenstru-

   
  
  
   
  

‘eir‘ermenstruum art
Er‘eztEwas tested t':
"what, in tact, st:
‘53}. The protocol:

tact, and the subs e:

the Rorschach Di

1- a
. asses of persona

e; I96";

was ma
‘3‘ We was de
Dize T t -

WOO e llEmS

YI 1‘ l .
financing; (Appe

58

scorers and two of the low scorers (one using, and one not using an oral contraceptive),
first in the premenstruum and then in the intermenstruum, and the other two first in

the intermenstruum and then in the premenstruum. This was done in all but one case.
Subject E was tested for the first time four days before her next expected menstrual
flow, but, in fact, started her next menstrual period eleven days after the first

testing. The protocols from this session were then redefined as her intermenstrual

record, and the subsequent testing was scheduled premenstrually.

Measures

The Rorschach Diagnostic Test and the Thematic Apperception Test were used
as measures of personality and affect. The Self-Rating Depression Scale
(Zung, 1965) was used as a measure of depression (Appendix I). A Behavior
Questionnaire was designed by taking items from the MDQ and converting them
into observable items of behavior. To these were added other behaviors often

reported to fluctuate with the menstrual cycle. This was then used as a measure of
overt behavior (Appendix I) .

Procedure

 

Six of the eight subjects were transported by the author in her car from their
homes or places on campus to her office on a distant part of campus, where all
testing sessions took place. The other two subjects (E and F) arranged their own
transportation to and from the author's office. After conversing for a few minutes
with subjects, the author explained that she would be using a tape recorder, and
then gave the following instructions:

You will be given a series of ten cards, one by one. The
cards have on them designs made up out of ink blots.

Look at each card, and tell me what you see on each
card, or anything that might be represented there. Look
at each card as long as you like; only be sure to tell me
everything that you see on the card as you look at it.
When you have finished with a card, give it to me as a
sign that you are through with it (Beck, et al, 1961, p.2).

The Rorschach test was then administered according to standard procedure

(Beck, et al , 1961) . The only deviation from this procedure was that the

 

5x31895531, not beh'
5553;: the desk .

,téthe end at the
retirealr to stretct
Me testing. All
«are sec given:

This is
l am 9
and yr
05 yor
shown
the m
thinki
lhoug
(Tomi

In.“

‘3 Completing

For t
your
with
YOU
reqlt
in a
hsCard 16 We!

v.0" 'l
«ismanlc Card-

Infill" '947, p.

‘

§

. :eiirs, 1947’
_ "a" "he TA]

.3 .
SQ" State:

{id‘s-5:! 0
~73 \t e O m

a~

59

examiner sat, not behind the subject, but at her desk, and the subject sat to one
side of the desk.

At the end of the Rorschach inquiry, subjects were asked if they would like to
take a break to stretch, use the bathroom or get a drink of water before going on
with the testing. All subjects declined. Instructions for the first half of the TAT
were then given:

This is a test of imagination, one form of intelligence.
I am going to show you some pictures, one at a time;
and your task will be to make up as dramatic a story

as you can for each. Tell what has led up to the event
shown in the picture, describe what is happening at
the moment, what the characters are feeling and
thinking; and then give the outcome. Speak your

thoughts as they come to your mind. Do you understand
(Tomkins, 1947, p. 21-22)?

After completing the story for Card 10, subjects were further instructed:

For the next cards, you can give even freer range to
your imagination. These first stories have dealt more
with everyday reality. Now I would like to see what
you can do when you disregard the commonplace
realities and let your imagination have its way, as

in a dream or a fairy tale (After Tomkins, 1947, p. 23).

As Card 16 was given to the subject the examiner said, "See what you can see
on this blank card. Imagine some picture there and describe it to me in detail
(Tomkins, 1947, p. 23-24) . " If the subject spontaneously told a story, no further
instruction was given. If she did not, she was told: "Now tell me a story about
it (Tomkins, 1947, p. 24 ."

When the TAT was finished, subjects were asked to fill out the Self-Rating
Depression Scale and were then given a sealed envelope containing the Behavior
Questionnaire and instructed to give it to the person who would be rating their
behavior the same day. All questionnaires were returned by mail.

At the end of the second testing session the subjects were asked to complete the
MDQ dnd Menstrual Cycle Supplementary Information Questionnaire again and return
it by mail, to provide more current data on their menstrual functioning. The examiner

did not know which subjects were in which group at the time of testing.

,. 5v" fiat

fields" lq‘em'ElOT"

‘

 

The completely t'
nae-sneer, were se
mt sent to clip
'53.}? For this work
ezega- the work , s
53‘} one clinician.

.were tested, in v

 

lt'firm‘ '-
Katrngs 2' F:

"I: e;
o a. set group of

Mrs, III F, m

Method of Analysis

 

Clinician Interpretation:

 

The completely transcribed Rorschach and TAT protocols, identified only by a
code number, were sent to two experienced clinical psychologists for interpretation
(materials sent to clinical raters may be found in Appendix II) . Each was to receive
$100.00 for this work. After a period of nine months, one of the clinicians had not
yet begun the work, so the pertinent analyses were carried out using the interpretation
of only one clinician. Hypotheses IA, lA1, II B 1, II C, II E, III A, III B, Ill K and
111 L were tested, in whole or in part, by this method.

Clinician Ratings o_f Rorschach and TAT Protocols:

 

Another group of hypotheses (I B, I C, ID, lI A2, 3, 4 and 5, II 82, II E, III C,
III D, III E, III F, III G, ”I H, 111 K and 111 L) was tested by having two clinicians
rate each Rorschach and TAT protocol for the presence of those characteristics
specified in each of the hypotheses. The aughor was one rater and either the
clinician mentioned above or another experienced clinician was used as the other
rater. Agreement between the raters ranged from 88% to 99%. Conflicts between
raters were resolved by subsequent discussion and agreement between them, or by

referring conflicts to a third clinician.

Statistical Analges:

 

In order to compare Rorschach variables between protocols of different lengths,
percentages, rather than absolute numerical values were used. Absolute values were,
however, used in comparing performances on TAT variables, as each subject could
receive only one score per card for each variable.

The design was that of a two by two analysis of variance with the second variable
being a repeated measurement. A multivariate analysis of variance was used to test

the data .

60

t
- v." “fir

Jr

J
.g. .
LSI
into "!
raw
.“. j
j“...
.

.‘-(
. .
. x
no.

. j s j . ‘
‘ - 4 t 1
.
\ .
‘. ---’> .. . .'i c. 14.7..
A C - u .
~r’.'l.2. . ‘." . f. .,
rrr rrrd} r [1,! .“rrlj : .r e
' 3 ‘ I .7 - s
..' r‘ ,.' .T,‘ _"n . ' r
. .5. - .‘
"7: - ~1..‘a' ‘1". "WINS-’7
o 1'. E‘.“"T) I1 1 :“ ‘(1‘ti 1
in :i ' _\ ~, “.33 '2 gir'
‘ s ' ‘. . ‘p‘
.‘2 .'l ' .31. “ -'
'=_‘.;‘.' ‘z’rtv m ~, It; aitz‘rm'
- _. I , | n o u
3: (. ‘ . .rt ,- \

.o, ‘4.-
- l

. ._..|
In“: '
v _0 t

.~,\'
~ .4
I. ..
t
L'.‘..
\ (-
v .

FD'FMW”OT

 

1pm 1

tr) 9

'3?”

313:1

 

 

5‘7)

:=”v

\

O" 'TOTTIOO ' ' 03'!

t l 'l
j~i ‘. 1.t viii."
— ‘ ‘ s
.-':I' .' 0'1'1v .- a! I .
r ..‘tr 1' .'.‘ '.."."/ .-' '9 ~ ' )(v'ul {:5'1' ~- - - .- I
- -.---r r; rut-5 twat s: r :9 3:11 :~,v-
‘ u I u
' u"Jf >w (w :‘t’; at.» r-. a -22 ., 1:1:
. ‘I ‘I!
- ,2- o c‘ ‘~I:'—. - j .15 ‘ \'~_rn ‘. \ n. | 1
_-‘ "v .1 7 ~[ _. u 1 s -\ . \ -.
.3: ».'. I . IT . . V J‘ '7
I
j . j 13.----. .j . . .1. ... .. .
5. 1r 1 4 I l
u .5. .. 1-‘j- .. . «ll. _ .‘37"? 1: ’,
‘C'=‘a* ad fT' f‘e*:r“‘ ' *7 V . ‘ -.- .
. .
j j 3)3-~-». - -. ~~c~ q.\— ~~ '.
. --- 1‘. .H . . .
' Ir —- ' .. r r '- é
r . . . ,, r . l l
4 - ',r -. ..i -' ::ntrr" “to 7"“
.
‘r J. . ~" ."" "'j. -" f 710 ’; "ace
' ”.‘i‘; ‘1 ‘tf . "x’ '3 'r-"" "tilt I ‘ ' 3
" ~,: ' :‘11'1' -" ‘1"‘4'r"(, "HOW/sf . .'t".’f
, _ ‘ -' I .. I - a._‘ I ' if"
. r ’ ‘ J. ..'. "'J..O-’."_I5‘ “ f" ,C?: ,I'," .”3, ,
1 :-. . ~ ‘. - | - .2. ans n'.l.i.)?‘1'f
a . _ .-. . ..-,.
:-3\’\ -0 o .4. ~
... - .- .. ,
3 E,% : or.'r :3. net ‘EZIJfiC..: r1 'ewr« I
n p , - . . ._ n . I . . - -.- - 7“ run-
.‘.' .O. 1 MHz; 31 ' .t.“..'. r if. 'f‘t . .‘Oqu’rtJNK‘

 

CHAPTER FOUR

RES ULTS

Exh hypothesis is re

 

    
     
   

:g-ro-‘aited f- tests V-

Hypothesis 7
limit- as measure

.
neurotic or less-'
I _ I .

U)" ‘3 Warned cl m
protocols. W cm

r.

RES ULTS

Each hypothesis is restated below, followed by the results of testing it. All tests

are two-tailed F- tests with one and six degrees of freedom, unless otherwise specified.

Hypothesis 1 A. Women high in premenstrual tension

 

(PMT) as measured by the Menstrual Distress Questionnaire
(MDQ) (Moos, 1968), will be characterized as more
neurotic or less-well functioning than women low in PMT
by a trained clinician evaluating their Rorschach and TAT
protocols. Women high in PMT will be rated high more
often than women low in PMT on the following variables:

1 . Neuroticism

2 . Hypochondriasis

3. Conflict over femininity
4. Hysteria

5. Depression

and will be rated low more often on the following:

6. Ability to use personality resources
7. Maturity

As shown in Table 3, Hypothesis 1 A is not upheld by the data to the extent that
the null hypothesis can be rejected. Ratings of neuroticism, conflict over femininity
and ability to use personality resources, however, do appear to differ in the predicted
direction, especially in the premenstruum.

It is well to note that using Rorschach and TAT protocols to obtain a high or low
rating of subjects on the above variables is a very crude use of these measures, so

it is not surprising that it did not differentiate the groups well.

Hipoth’esis I B. Women high in PMT will have a higher

 

frequency of the following Rorschach characteristics (Beck, Beck,

Levitt, and Molish, 1961), compared to women with low PMT:

62

T'sia' Ratings of Sub} .

 

 

 

Lc

Hr

Lr

Preme
High
"1’:"'cism
LOW
. H ng
low
If I'llg
3.5 Why
"this
'35:"?!
I I" ‘3
J’nl,‘ ‘
a "t/
3;:
r, ,_
r

Lr

TABLE 3

Clinician Ratings of Subjects High and Low in PMT in the Premenstruum and Intermenstruum
(Hypothesis 1A)

 

 

Premenstruum Intermenstruum
High Low High Low
PMT PMT PMT PMT
High 3 1 High 2 r
Neuroticism
Low 1 3 Low 2 3
High Low High Low
High 1 0 High 1 2
Hypochondriasis
Low 3 4 Low 3 2
High Low High Low
CODTIICI' High 2 0 High 2 1
over
femrnrnrty Low 2 4 Low 2 3
High Low High Low
. j ' l
Hysteria Hrgh 0 Hrgh 0
Low 4 3 Low 4 3
High Low High Low
Depression High 2 0 High 2 .1
Low 2 4 Low 2 3
High Low High Low
Ability to High 2 3 High 3 2
use
personality Low 2 1 Low 1 2
resources
High Low High Low
High 1 ‘| High 2 1
Maturity
Low 3 3 Low 2 3

63

64

. Anatomical responses

. Blood responses

3. "Castration " material (e.g. , figures with
amputated, missing, or mutilated heads,
arms, legs; cuts, wounds, scars, etc.)
(Schafer, 1954).

4. "Penetration of Boundary" responses
(Fisher and Cleveland, 1968)

5 "Anal" or "messing" material (Schafer, 1954)

6. Animal responses (A%)

7. Popular responses (P%)

8. F-, Y and V responses to card VII

9

0

N...-

Higher ratio of C and CF:FC
. Poor form more often associated with color
(M.FC-, M.CF-, FC-, CF-)
11. Use of texture (T) as a determinant
12. Use of vista (V) as a determinant
13. "Color shock " (Phillips and Smith 1953)
14. "Hysterical verbalizations" (Schafer, 1954)
15. Refusal to look at cards

and a lower frequency of the following Rorschach characteristics:

16. "Barrier" responses (Fisher and Cleveland, 1968)
17. . Good form level (F+ and M+)

18. Use of movement (M) as a determinant

Analysis of the results yielded no significant main effects on any of the eighteen
Rorschach variables. There were, however, three variables on which significant
interactions between PMT group and cycle time took place, indicating that the
premenstruum minimizes any differences between the groups. Figure 1 displays these
findings. As shown in the figure, the two groups have similar scores on use of shading
both on Card VII (p =.07, F= 4.72) and throughout the protocol (p =.07, F = 4.95),
in the premenstruum. In the intermenstruum, however, the high PMT group uses more
and the low PMT group uses less than they did in the premenstruum. A similar
interaction occurs in the percent of poor form responses to Card VII (p =.09, F = 3.92),
with high and low PMT groups appearing more dissimilar in the intermenstruum than
in the premenstruum. As the figure shows, however, the high PMT group tends to have
a higher percent of poor form responses to Card VII than does the low group at each of

the sampled times in the cycle.

Iv—-——-- fiv—__.r.

.7 t
'LlIEt.

Pen-c an r

I
Interactions b

Card Vll,

ISO!
Ibol

lot

 

 

Figure 1. Interactions between PMT group and menstrual cycle phase, High 55 Higher,
Rorschach variables. '—

Percent

Card vrr, F - %

 

 

 

Card VII, Y %

 

 

 

200‘ /
350 q /
I75 ‘/
390‘ IIO- 9”
900 )9,"— ’ T g root )2
150- 0- 75. Lo‘v ’M
ram 4 T
501 25j
o I l J I
Pre Inter o Pre Inter
Cycle Phase Cycle Phase
Total Y %
40‘
8° ,.
vol ‘5 9"": ’
if: not “3‘” ’
u e ’
tn 5" I.
304 A"
not
I01
- L- L
0 Pre Inter
Cycle Phase

65

 

‘ .sr
M

 

which CO'TIOI" m

low in PIVhT:

7:
1.13

 

e4shows the tr
:a'ecés in the premenst-
aeoee: groups was gre
“tention between Ptv

'aaztioes between tl

'Iawth stories in th

"f'te'stroom lp =. O

66

Hypothesis 1 C. Women high in PMT will tell TAT stories

 

which contain more of the following than the stories of women

low in PMT:

Dysphoric affect

. Suicide, murder, mutilation, bodily harm
Unsatisfactory interactions between the
heroine/hero and her/his mother.

Instances of illness

Instances in which the outcome is determined
by "fate" , or forces beyond the control of
the heroine/hero

(JON--

LII-h

Table 4 shows the total scores obtained on TAT variables by high and low PMT
subjects in the premenstruum and the intermenstruum. None of the predicted differences
between groups was great enough to reject the null hypothesis of no difference. One
interaction between PMT group and cycle time was significant, that of satisfactory
interactions between the main character and her mother. The low PMT group told
more such stories in the premenstruum, while the high PMT group told more in the

intermenstruum (p =.07, F= 5.00).

Hypothesis l D. Women high in PMT will make more self-disparaging

 

remarks and ask for instructions from the examiner more often than women
low in PMT.
As shown in Table 5, the total number of requests for instructions from the examiner
was twice as great among the subjects high as these low in premenstrual tension, in
both the premenstruum and the intermenstruum, although this difference did not reach
the .05 level of significance as a main effect in the analysis of variance. There was

no difference between the groups in the frequency of self-disparaging remarks.

Hypothesis I E. There will be a positive correlation between

 

PMT scores on the MDQ and number of visits to a physician in
past year.

There was a small but highly significant positive correlation (r = .206, p < .005,
one-sided) between scores on the MDQ and number of visits to a physician reported
in the past year.

Fiction Ratings of Sub

 

 

 

For ottecr
Shite, murder,
T3233”, bodily
in.

1.9:. '3" bOdly

‘1.-

l‘T“ violent

we.
1.5 I

 

1'52“ ZSTSCtory

wet

 

 

 

 

 

. I I

I“ _Ic .

‘4 ivory
.

"'7! ,

V 131-ij WIT“

 

 

TABLE 4
Clinician Ratings of Subjects High and Low in PMT on TAT Variables in the Premenstruum
and Intermenstruum. (Hypothesis 1C)

 

 

 

Premenstruum Intermenstruum
lHi h PMT Low PMT High PMT Low PMT

Dysphoric affect 57 61 49 56
Suicide, murder,
mutilation, bodily
harm 1 1 17 9 19
Threat of bodily
harm 1 I 7 8 7
Non- violent
death 4 4 6 3
Unsatisfactory
interactions with
mother 8 7 6 7
Satisfactory
interactions with
mother 1 3 4 1
Illness 6 l 4 1
Outcome determined
by fate or forces
beyond control 38 42 34 34
Pleasant affect 6 5 8 6
Story ending:

happy 10 13 9 10

neutral 40 30 52 40

unhappy 34 41 23 34

 

 

67

imison oi Women H

s
t
r

I sat Number oi Sel‘

 

 

 

 

 

 

 

 

 

 

.ei-s'lsporagfng

 

 

TABLE 5

Comparison of Women High vs Low in PMT in the Premenstruum and the Intermenstruum

on Total Number of Self-disparaging Remarks and Requests for Instructions from the

Examiner. ' (Hypothesis I D)

 

 

 

 

Premenstruum Intermenstruum
‘ High " ' " " Low High ' Low
Self-disparaging
remarks ‘ 18 22 33 27
Requests for
instructions. ., .. 27, . - . .13 . 52 4 13

 

 

68

 

HypotheSis
the premenstrual
more pathologiCt
tested in the int

When testing is

L_J_

 

h

'0'. (I: t 4
x t .02
«stir ‘

69

Hypothesis II A. Rorschach protocols of women tested in

 

the premenstrual phase of their menstrual cycle will appear

more pathological than the protocols from the some women

tested in the intermenstruum.

When testing is in the premenstruum:

1.

(AN

Overall functioning as assessed by a trained
clinician evaluating the protocols will be
somewhat poorer when each woman is com-

pared with herself.

. Rorschach "Barrier" scores will be lower.
. Rorschach "Penetration of Boundary" scores

will be higher

. There will be a higher frequency of the

fol lowing responses:

Blood

Anatomy

"Castration" material
"Anal " material

"Poor form" (F- and M-)

(DO-00"!)

. There will be a higher frequency of the use

of following determinants:

a. Shading (Y)

b. Texture (T)

c. Vista (V)

d. Color (C, CF and FC)

Table 6 shows the findings relating to Hypothesis II A I. As shown in the table,

about half of the subjects were rated by the clinician as functioning better in the

premenstruum, and half as functioning better in the intermenstruum.

Three Rorschach variables differentiated premenstrual from intermenstrual records,

but none was in the predicted direction. The hypothesis is not upheld. There was a

significantly higher percentage of anatomical responses (F = 5.87, p = .05) and total

use of color (F = 4.02, p = .09) in the intermenstruum as compared to the premenstruum,

and a significantly higher percentage of good form responses in the premenstruum

(F = 6.77, p = .04), as compared to the intermenstruum in both groups. The low PMT

group tended to have more anatomical and good form responses throughout the cycle

than the high group, as shown in Figure 2.

.2— -_____ ‘I

little-r. Ratings oi 0v
‘acecsrruum and the l-r‘

 

 

 

 

 

 

 

Set

in 2

I‘ll;

R PM
:zl'cch 2
fig
3' 1

TABLE 6
Clinician Ratings of Overall Functioning on Rorschach and TAT Protocols in the

 

 

 

 

 

 

 

 

 

PremenstrUUm and the Intermenstruum. ‘ (Hypotheses II A .1 and II B 11 ) .
Betterfunctioning Better functioning
in premenstruum in intermenstruum
. . High low - r l - , . . . ..High . Low
PMT PMT PMT PMT
Rorschach - - . i .2 3 . . r 2 1.
TAT 1 3 . 3 1
Totals 9 7

 

70

iiaure 2. Moir-

Anatomical

to.
la

 

 

 

Figure 2. Main effect, time in cycle, Rorschach variables (Hypothesis II A)

70-

60-

50-

4o-

30-

Anatomical responses %

 

 

Inter

Cycle Phase

Total use of color °/o

110-
100-
90-
80-
70-
60-

 

71

 

Good Form responses °/o

 

 

230- Law

220- W

210-

200-

190- ' #192:

180- \ : A: ’

170- ‘ ~ ~

160-

150- .L
Pre Inter

Cycle Phase

Hy'fu‘ol"e"s I
______
3.19meer W
from the same W

when rating '5

t-ssha’wn in Table C
tutor-ing more poorly
'aatsis is not upheld
the high PMT subjec

x’wtrrtt subjects t:

t

 

 

72

Hypothesis II B. TAT protocols of women tested in the

 

premenstruum will appear more pathological than the protocols
from the same women tested in intermenstruum.
When testing is in the premenstruum:

1. Overall functioning as assessed by a
trained clinician evaluating the
protocols will be somewhat poorer,
when each woman is compared with
herself.

As shown in Table 6 close to half the subjects were rated by the clinician as
functioning more poorly in the premenstruum, and half in the intermenstruum. The
hypothesis is not upheld for the group as a whole. There is a tendency, however,
for the high PMT subjects to be rated as better functioning in the intermenstruum
and low PMT subjects to be rated as functioning better in the premenstruum.

2. TAT stories will contain more of the following:

a Dysphoric affect

b. Suicide, murder, mutilation, bodily harm

c Illness

d Outcomes determined by "fate", or forces
beyond the control of the heroine/hero.

Table 7 shows the TAT findings in the intermenstruum as compared with the
premenstruum. No predicted differences reached the .05 level of significance,
making it impossible to reject the null hypothesis, however, unhappy and neutral
story ending both differentiated the premenstruum from the intermenstruum. There
were more stories with neutral endings told in the intermenstruum (F = 15.78, p = .007),
and more stories with unhappy endings told in the premenstruum (F = 6.15, p = .05).
Hypothesis II C. A trained clinician using both Rorschach and TAT

 

protocols will more often give a high rating on the following variables to

woman when tested premenstrually:

1 . Neuroticism

2. Hypochondriasis

3 . Conflict over femininity
4 Hysteria

5 Depression

'gkgiCli'rician Ratr"

 

 

 

Ecstatic affect

Saiziae, murder, mutil:
filth hem

Treats? bodily harm

"strident death

 

 

 

.rsz‘snctory intera c tlr
II". rather I

eta-story interaction
‘i‘ fisher

egg

5:039 deIeMIned b
ii-‘et-‘orces beyond c

.ES't.‘ affect
:3", eqding:
UnhapF

\

TABLE 7

Totals of Clinician Ratings of TAT Variables in the Premenstruum and Intermenstruum
. (Hypothesis ll B 2 )

 

 

Premenstruum Intermenstruum

Dysphoric affect l 18 105
Suicide, murder, mutilation,
bodily harm 28 28
Threat of bodily harm 18 15
Non-violent death 8 9
Unsatisfactory interactions
with mother 15 13
Satisfactory interactions
with mother 4 5
Illness 7 6
Outcome determined by J
fate or forces beyond control 80 68
Pleasant affect ' 11 14
Story ending:

happy 23 19

neutral 70 92

unhappy 75 57

 

 

 

73

I
awda low tatir;

iaéle 8shows the r
{-3 wchsubiect is c:
annals, it must be i
"meant.

Hypothesis
'es‘ed premenst'
Sel‘-Rating Dee

Assliawn in Table

rfcfe: direction. A

‘Ei'edicfed dliecl’ion

 

 

74

and a low rating on:
6. Ability to use personality resources
7. Maturity
Table 8 shows the results of clinician ratings in the premenstruum and the intermenstruum
when each subject is compared with herself. Though the results do not support the
hypothesis, it must be kept in mind that global ratings such as these are a very crude
measurement.

Hypothesis II D_._ Women will appear more depressed when

 

tested premenstrually than when tested intermenstrually on
Self-Rating Depression Scale (Zung, T9650, l965b, T967).
As shown in Table 9 of the six subjects whose score changed, five changed in the
predicted direction. Although not significant at the .05 level this shows a trend in
the predicted direction (p< .10 using Mann-Whitney test, one-tailed).

Hypothesis II E. When women high in PMT are compared

 

with women low in PMT, fluctuations in test response with

cycle phase will be greater in the former than the latter. The
mean differences in the test responses specified in II A through
II D, above, between the intermenstrual and premenstrual will
be higher for the high PMT group than for the low PMT group.

Figure 3 shows those Rorschach variables on which one group fluctuated with cycle
phase significantly or suggestively more than the other; use of pure color (C) and form
modified by color (FC) as determinants, and poor form responses. Unfortunately, all
three were opposite to the predicted direction; that is, on each variable the low PMT
group fluctuated more than the high PMT group.

These findings did not support the hypothesis.

The analysis of fluctuations on the TAT variables with cycle phase also failed to
uphold Hypothesis II E.

Table 10 shows the number of subjects given the same ratings by a clinician at
both testing times. There is no difference in amount of fluctuation with cycle phase
on these ratings between subjects high and low in premenstrual tension.

On the Self-Rating Depression Scale there was no difference between high and low
PMT subjects in the amount of fluctuation with cycle phase. The null hypothesis could

not be rejected.

Comparisa
in the Pr

 

 

 

_—

‘iegtaticism
‘«'.»::hondriasis

inflict over

. , 3 .
T'iflmtiy

 

‘fleria
$933533“

will *0 L68
:Mlii)’ resources

iiJillill'y

\

Comparison of Clinician Ratings of Each Subject

TABLE 8

in the Premenstruum and the Intermenstruum

(Hypothesis II C )

 

 

 

Difference
Difference in opposite to
predicted No predicted
direction difference direction
Neuroticism l 7 0
Hypochondriasis O 6 2
Conflict over
femininity l 5 2
Hysteria O 8 0
Depression 1 5 2
Ability to use
personality resources 1 6 l
Maturity l 7 0

 

75

 

 

 

 

. - - . . ‘x - . K
\'v., o / r\- ' \r r- \v v a» n . a, a’-- ~A—~.—-
I u 4 . . 4 a»- ' . a a 4 J - _ I -~'-— '- v
. I I f- j o
“, 10v|1.3~‘.ao~ ax. ,‘~r\ - ‘D’fi;-q:_-‘ a..- ox
\\ . u s I \ ~- ~- v v v .
3 mac... _ .. ;
J C -v C... -.
' . ‘5 If .
.- ‘—— w- u ,3... - j».
....[.S°p°n e m I
.. _. 4..
j,. ‘s ,,
3..t“.. EH .
.
'0 Orr! - .,, . ,
9‘ |'.'I-|\\: 3' . 1' f! fl
s \'- Q v ' "
~e it PM .' H. J .'>

&)

 

TABLE 9

Comparison of Self-rating Depression Scale Scores in the Premenstruum and Intermenstruum
(Hypothesis ll D) '

 

 

 

Change in
Sabj‘ect ' ' ' Premenstrual score Intermenstrual score predicted direction
A 5] 59 No
3 4i 4] No change
C 55 51 Yes
D 56 38 Yes
E 45 40 Yes
F 44 38 Yes
G 53 53 No change
H 61 49 Yes

 

76

figure 3. l
with cycle

 

 

 

 

Percent
O
U)

100 .
95
90

Percent

25

Figure 3. Interactions between PMT group and amount of fluctuation
with cycle phase, Rorschach variables (Hypothesis II E) ,

 

C%
(p = .10, F =3.77)

FC °/o

80
70
E 60
8 50
a; 40
30
20
10

 

 

 

Percent

 

125

 

I L
0 Pre Inter

Cycle Phase

 

L_l L
Pre Inter
Cycle Phase

Corn.“Jr

inC

 

:f-ig‘. wriable

\-
emem
'fccémclriesis

.riict over feminini.‘

 

TABLE I 0

Comparison of High vs Low PMT Subjects on Fluctuation
in Clinician Rating With Cycle Phase

 

 

Clinical variable

Number of subjects rated the same on

both testings

 

 

 

 

 

High PMT S's Low PMT S's

Neuroticism 3 4
Hypochondriasis 4 2
Conflict over femininity 2 3
Hysteria 4 4
Depression 2 3
Ability to use
personality resources
Maturity 3

TOTALS 2i 23

78

Hypothesis

contraceptive l

 

anti lower on:

lilan Women INS

IJBIE II gjvs the

m"? users to non

'r m an.

l-iertce béiwe

‘Woceprive

79

Hypothesis III A. Women high in PMT who also use an oral

 

contraceptive will be rated higher on:

Neuroticism
Hypochondriasis

. Conflict over femininity
Hysteria

Depression

U'I-FUN-H

and lower on:

6. Ability to use personality resources

7. Maturity
than women high in PMT who do not use an oral contraceptive.
Table 11 gives the clinician ratings of subjects high in premenstrual tension,
comparing users to non-users of oral contraceptives. As shown in the table, there
is no difference between users and non-users in these ratings.

Hypothesis III B. Women low in PMT who also use an oral

 

contraceptive will be rated higher on:

Neuroticism
Hypochondriasis

. Conflict over femininity
Hysteria

Depression

U'I->OJN—-

and lower on:

. Ability to use personality resources
Maturity

\IO~

than women low in PMT who do not use an oral contraceptive.
As shown in Table 12, the findings do not support the hypothesis. Only one comparison
between users and non-users in the intermenstruum on the dimension, "ability to use
personality resources," gave results as predicted.

Hypothesis III C. Women high in PMT who also use an oral

 

contraceptive will have a higher frequency of the following Rorschach
characteristics than women high in PMT who do not use an oral contraceptive:

. Anatomical responses

Blood responses

"Castration" material

"Penetration of Boundary" responses
"Anal" or "messing" material

. Animal responses "(A%)

OCH-th—I

Berton of Users vs N.
i the Pre

#‘

 

 

Prerrte

 

m: m

Hig

weir-arririosis

Lo

Lc

TABLE 11

Comparison of Users vs Non-users of Oral Contraceptives Who Are Also High in PMT in
the Premenstruum and the Intermenstruum (Hypothesis III A)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Premenstruum Intermenstruum
User Non-user User Non-user
High 1 I 1 High 1
Neuroticism
Low 1 I Low 1 1
High 1 HIQh I
Hypochondriasis
Low 1 1 Low 1 1
Conflict over , ‘ , ‘
femininity HrghI I I J ngh I I
LowI I I Low I I I
- i i H' h
Hysteria Hrgh L l '9
Low I 2 I I Low 2 1
Depression HIQI‘ I l I I High 1
Low I I I Low 1 1
Ability touse . .
1
pe Iity ngl'l — High 1
'°‘°"'°°‘ Low 1 Low 1
Maturity High I 1 I High 1 I 1
Law I 1 1 I Low 1 I

 

 

 

 

fraction of Women Lo
in the Pre'

”r
#-

‘is'ii' . Sill

“Hi. ,9. .
.1. 5'3 patios IS

_____|

H:

La

 

 

Li

Hi

Hi

L<

TABLE 12

Comparison of Women Low in PMT Who are Users or Non-users of Oral Contraceptives
in the Premenstruum and the Intermenstruum (Hypothesis III B)

 

 

Premenstruum

 

 

Intermens truu m
User Non-user User Non-user
H' h H' h ] O
Neuroticism rg I 0 lg
Low 1' 2 Low 1 2
High 0 0 High 1 r
Hypochondriasis
Low 2 2 Low 1 1
Conflict over . O .
femininity High ° ”'91‘ 1
Low 2 2 Law I
Hysteria Hugh I 41 1 nglI 0 1
LOW L2 1 Law I 2 1
Depression High 0 HIQ 1 0
Low 2 Low 1 2
A bIIItylto use 1 2 . O 2
persona ”Y High Hrgh
resources
Low I 0 Low 2 0
o o O 'l
Maturity Hugh 0 1 Hrgh
Low 2 1 Low 2 1

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

81

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

and 0 Iower l

 

l“ general, the
azure: o? the suhiect
fir'ere‘rtioting the 1"
teen! to have a hi
22"?!“ on respon:

O

2‘3221' form ll“ 0”
:r‘azeotive. 1h!
.3”. l '

.mrzatrans, anc
ration from that

‘f'aslizations thar

Hyoof

cantmcept

characteris

cantruceot

82

7 Popular responses (P%)

8. F-, Y and V responses to card VII

9. Higher ratio of C and CF:FC

0 Poor form more often associated with color
(M.FC-, M.CF-, FC-, CF-)

11. Use of texture (T) as a determinant

12. Use of vista (V) as a determinant

13. "Color shock"

14. "Hysterical verbalizations"
15. Refusal to look at cards

and a lower frequency of the following Rorschach characteristics:

16. "Barrier " responses
17. Good form level (F+ and M+)
18. Use of movement (M) as a determinant

In general, the findings were not supportive of the hypothesis. Table 13 shows the
scores of the subjects on those few Rorschach variables Which showed a‘trend toward
differentiating the two groups. High PMT subjects who also use an oral contraceptive
seemed to have a higher percentage of anatomical, penetration and anal responses,
poor form on responses to Card VII, use of texture as a determinant, and lower percentage
of good form (F+ and M+) responses than the high PMT subject not using an oral
contraceptive. These differences were in the predicted direction. Percent of hysterical
verbalizations, and barrier responses, however, differentiated the groups in the opposite

direction from that predicted. The non-user of oral contraceptives had more hysterical

verbalizations than either of the users.

Hypothesis 111 D. Women low in PMT who also use an oral
contraceptive will be rated higher on the following Rorschach
characteristics than women low in PMT who do not use an oral

contraceptive:

. Anatomical responses

Blood responses

"Castration" material

"Penetration of Boundary" responses
"Anal" or "messing" mate‘rial
Animal responses (A%)

Popular responses(P% )

F-, Y and V responses to card VII
Higher ratio of C and CF:FC

‘OQVOUI-FQNH

I
Cymrison 0l R05”
gatcorraceptive‘

 

______
irssclroclr variable

érc‘s'ny

\

. J
llp
:retrzrron

 

.1221
:75 1i'rlll" F-
are (T)

"s‘erioal
miization
in'er

32x3 form

-“ and M+)

\

TABLE 13
Comparison of Rorschach Scores of High PMT Subjects Who are Users or Non-users of

Oral Contraceptives in the Premenstruum and the Intermenstruum, Suggestive Findings.
(Hypothesis III C)

 

 

a—

Difference in

 

 

Premenstruum Intermenstruum ,
predicted
Rorschach variable User Non-User User Non-user direction
Anatomy - - IO, 27 2 Yes
Penetration 19, 38 14 27, 35 18 Yes
Anal - - 3, 8 0 Yes
Card VII, F- 50, 50 0 50, 100 0 Yes
Texture (T) 8, 14 0 3, 12 2 Yes
Hysterical
verbalization 0, 28 149 4, 23 118 No
Barrier 7, 23 2 - - No
Good form
(F+ and M+) 45, 50 63 35, 46 52 Yes

 

and a lower ‘

The null hyootti
"7“"332’5 on which ti
Wyn” low in P
.‘Eier percentage of

it: in Pl

'll Who do n

 

”em”- Two varic

’53” o
5'“: 0.0.805”
. \e lo I.l-l

memes to Car

‘5 he

5%

thacepfi v
followgng Ihr

on OTQI COHIH

10.

11.
12.
13.
14.
15.

84

Poor form more often associated with color
(M.FC-, M.CF-, FC-, CF-)

Use of texture (T) as a determinant

Use of vista (V) as a determinant

"Color shock"

"Hysterical verbalizations"

Refusal to look at cards

and a lower frequency of the following Rorschach characteristics:

16.
17.
18.

"Barrier" responses
Good form level (F+ and M+)
Use of movement (M) as a determinant

The null hypothesis could not be rejected. Table 14 shows those Rorschach

variables on which the scores of the two groups differed to some extent.

Women low in PMT who are also users of oral contraceptives tended to have a

higher percentage of penetration responses and hysterical verbalizations than women

low in PMT who do not use oral contraceptives. These findings were in the predicted

direction. Two variables which seemed to show some difference between the two

groups opposite to the predicted direction were use of shading on Card VII and poor

form responses to Card VII .

Non-users of oral contraceptives had a greater percentage

of these responses than users, among women low in PMT.

Hypothesis III E. Women high in PMT who also use an oral

 

contraceptive will tell TAT stories which contain more of the

following than the stories of women high in PMT who do not use

an oral contraceptive:

CON—-

U'I-P-

Dysphoric affect

Suicide, murder, mutilation, bodily harm
Unsatisfactory interactions between the heroine/hero
and her/his mother

Instances of illness

Instances in which the outcome is determined by
"fate", or forces beyond the control of the
heroine/hero

Table 15 shows the suggestive findings related to this hypothesis. Among women

high in PMT, users of oral contraceptives told more stories in which unsatisfactory

interactions between the main character and her mother took place, more stories in

which the outcome was determined by forces beyond the control of the main character,

w 2.- .....n......v .U

Commrison of f
of O'dl Contrar
findings.

 

ioschach varic

 

h“-

Penetration
CarclVll, 11
Card VII I ‘

Ht’Sterical
Ver'IDOlizoti

TABLE 14

Comparison of Rorschach Scores of Low PMT Subjects Who are Users or Non-users

of Oral Contraceptives in the Premenstruum and the Intermenstruum, Suggestive
(Hypothesis III D)

Findings.

 

 

Rorschach variable

Premenstruum

 

 

 

_ Intermenstruum Difference in
, predicted
__ User Non-user User Non-user direction
Penetration 38, 58 25, 28 - - Yes
Card VII, F- o, o 33, 50 - - No
Card VII, Y O, 0 33, 50 - - No
Hysterical 79, 108 22, 22 64, 128 33, 45 Yes

 

verbalizations

85

 

i
. rmw

 

Crmrison of TAT Sr
.mceptives in the
a.

 

 

fit
‘1

‘- “liable l—
K...

.tssris‘octory
”action with
al.,, Lt

2: stre:

\
3:27p l—
eashed by
‘=r 0f torces
33723. the
W of

 

 

 

TABLE 15

Comparison of TAT Scores of High PMT Subjects Who are Users or Non-users of Oral
Contraceptives in the Premenstruum, Suggestive Findings (Hypothesis III E)

 

 

Premenstruum

 

TAT variable i .. . . .
_ Abel? Amer

 

 

-—_

Unsatisfactory

interaction with
themother 2,3,3. 2. .. _ . O

 

Outcome
determined by ‘
fate, or forces
beyond the

control of ,
heroine/hero 9, 12, 13 4

 

Story ending,
neutral 61 6: ‘3 . I5

 

Story ending,
unhappy

 

 

s, 9, 14 5

 

JA 4. a- #1:}. ”I

 

‘o'estarie with ur'

 

‘r-sers of oral c0"

serefitahenodit'?

Hyoothe'

. I
contracepti‘.

Following th:

on oral cont-

 

87

more stories with unhappy endings, and fewer stories with neutral endings than
non-users of oral contraceptives in the premenstruum. In the intermenstruum, there

seemed to be no differences between users and non-users of oral contraceptives.

Hypothesis III F. Women low in PMT who also use an oral

 

contraceptive will tell TAT stories which contain more of the
following than the stories of women low in PMT who do not use
an oral contraceptive:

1. Dysphoric affect

2. Suicide, murder, mutilation, bodily harm

3. Unsatisfactory interactions between the
heroine/hero and her/his mother

4. Instances of illness

5 Instances in which the outcome is determined
by "fate", or forces beyond the control of
heroine/hero

The results did not show any differences between the low PMT users and non-users

of oral contraceptives either in the premenstruum or in the intermenstruum.

Hypothesis 111 G. Women high in PMT who also use an oral

 

contraceptive will make more self-disparaging remarks and ask
for instructions from the examiner more often than women high
in PMT who do not use an oral contraceptive.

Table 16 presents the raw data relating to this hypothesis. The only difference
which appears possibly suggestive is the greater number of self-disparaging remarks
made by the high PMT non-user of oral contraceptives in the premenstruum, as
compared with the oral contraceptive users high in PMT. This is opposite to the
predicted direction.

Hypothesis III H. Women low in PMT who also use an oral

 

contraceptive will make more self-disparaging remarks and ask
for instructions from the examiner more often than women low in
PMT who do not use an oral contraceptive.
Table 16 shows the raw data related to this hypothesis. The data do not support
the hypothesis.

756T of Questions
Lei Contraceptive r

 

 

ii'il‘iwnglng
ects

he

 

 

 

 

TABLE 16

Number of Questions and Self-disparaging Remarks Made by Users and Non-users of
Oral Contraceptives in the Premenstruum and the Intermenstruum.(Hypotheses lIIG,III H)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

HIGH PMT S‘s
Premenstruum , Intermenstruum
User ' Non-user User ‘ Non-user
Questions 2, .9 ; 2 .1, 8 . 4
Self-disparaging
remarks I i 0, 32 ' ' Q 10 . 3, 6 7
LOW PMT S's
Premenstruum - Intermenstruum
User Non-user User Non-user
Questions 3, 4 3, 3 1, 6 3, 3
Self-disparaging
remarks 4, 11 3, 4 3, 17 2, 5

 

 

 

 

 

88

,L_.;,._;r:f

kW

Hyaotht

coatraceotix

and lower d

Dearesion 3

col contrar

Table l7 gives
leesion Scale.

121‘ 1reset in the ir

"eocsasite dir
“

Hvoo

M

cantracec
and lowe
Dearesic
aalcon‘

”'9 Scores <

s
ill. I

.H (”N
J

. UTEC‘S us

‘3. +5 ”On-u:

\

. I

re ntgi.‘
.-

' i‘i'Datl

89

Hypothesis III 1; Women high in PMT who use an oral

 

contraceptive will have higher depression scores intermenstrually,
and lower depression scores premenstrually, on the Self-Rating
Depression Scale, than women high in PMT who do not use an
oral contraceptive.
Table 17 gives the scores of women high in premenstrual tension on the Self-Rating
Depression Scale. The users of oral contraceptives scored higher in the premenstruum,
and lower in the intermenstruum on this measure than the non-user. These results were

in the opposite direction from that predicted. The hypothesis is not upheld.

Hypothesis III J. Women low in PMT who use an oral

 

contraceptive will have higher depression scores intermenstrually,
and lower depression scores premenstrually, on the SelfaRating
Depression Scale, than women low in PMT who do not use an

oral contraceptive.

The scores of the low PMT subjects are shown in Table 17. As predicted, the low
PMT subjects using oral contraceptives had higher depression scores intermenstrually
than the non-users. In the premenstruum, however, the users of oral contraceptives
also had higher depression scores than the non-users, contrary to the prediction.

The null hypothesis could not be rejected.

Hypothesis III K. Women high in PMT who use an oral

 

contraceptive will have less fluctuation in test response
with cycle phase than women high in PMT who do not use
an oral contraceptive.

As shown in Table 18, the two subjects using an oral contraceptive showed no
change at all with time in cycle on any of the clinician rated variables. The subject
not using an oral contraceptive, however, fluctuated on five of the seven variables
with time in cycle, receiving high ratings on neuroticism, conflict over femininity
and depression, and low ratings an ability to use personality resources and maturity,
in the premenstruum. These changes were all in the direction predicted by Hypothesis

II C. On two variables, hysteria and hypochondriasis, there were no changes with

time in cycle. These results tend to support the hypothesis.

‘ -‘_~."£

"‘ Jua-

Eastwnondtl
hm

M.
M.
\
Premenstruum I
‘—
Nm-I

5

/“" ”El

 

/

 

 

r
'Mmmm
\

Non-l

*5 /“‘"J

M

%

 

TABLE '17

Scores of Users and Non-users of Oral Contraceptives on the Self-Rating Depression Scale

In the Premenstruum and the Intermenstruum

(Hypotheses III. l, mu;

 

 

 

 

 

 

 

 

 

 

 

 

HIGH PMT S's
Premenstruum ’ Intermenstruum
User ' Non-user User A Non-user
55 51 38 59
56 51
LOW PMT S's
Premenstruum Intermenstruum 1
User Non -'\Jser - User . Non-user
53 44 53 38
61 45 49 4O

 

 

 

 

90

Lav—.1" ‘14,!

Cmrison of User
i: Clinician Rating

 

:iia’ml wriable

 

"ieaticism

 

iritchontlriasis

-\
p ,1.
-Iilii:i Over

‘Fi'njfy

 

TABLE 118

Comparison of Users and Non-users of Oral Contraceptives on Amount of Fluctuation
In Clinician Ratings With. Cycle Phase I ’ ' (Hypotheses IIIK, 5 111 L) i j ' ' ‘ .

 

 

 

" HIGH "we. 95.... rairngbstn times “

 

 

 

 

 

 

 

 

 

 

Clinical variable 1‘ ’ ‘Us’e'r's‘f " H ' i J ' JNOI‘II-USQI'ISW'; ' ’ i N ‘
NeuroticiSm i ' ' 2 ‘ ‘ ‘ ' 0 I Ii” "3
Hypochondriasis. ' '2 ' ’ ... ’ ‘ T' ' " ,., '3" '
Conflictover . ._ .. .. .
femininity 2 T 0 4 3
Hysteria . y I

Depression I 2 ‘ 0 ‘ 3
KBiIiry to use . ; i

personality. 3. .. i“" I-

resources - ’

Maturity

 

 

’ ' LOW PMT S's -' Same rating both times

 

 

 

 

 

 

 

 

CIIHICOI variable UsersI NOH‘USBI‘S ‘. N
Neuroticism ' ' 2 ' l - ~ 2 . . . .. .4 ..
Hypochondriasis ‘ ’ 1* I - ~ 1 ~ - - . . . 4 .
Conflict over _ . .

femininity 2 . 1 . 4
Hysteria f 2 * . .2 - ,1 r . . . . 4. .
Depression 1 I 2 ~ . . 4
Abifity to use

personality . . r

resources 1

 

 

 

 

91

There was very l

 

2f; 9'."le users and r
Is its absolute vi:
tasseemed to bes
florid total M.
2721' contraceptiO'
rtctsupoort this h

lie results of Cl
It" With reoect to
”“5 I10 diligence

ii. variables. The

 

The data on WOT
{femtiale llle‘m Ir
‘smcy at asking
"hypothesis was 1

bible 20 shows
2:52, comparing U
selects there is no
two groups. ll

laling all the
treiect the null I
2* cycle phase I

I“? it
prelim-9min

CODITQCED

0n OrqI Cr

92

There was very little difference in amount of fluctuation with cycle phase between
high PMT users and non-users of oral contraceptives on the Rorschach variables. Table 19
gives the absolute values of fluctuation with cycle phase for those two variables on which
there seemed to be some difference in fluctuation betwen the groups, ratio of C and CF
to FC, and total M. In each case, the users seemed to fluctuate more than the non-users
of oral contraception, the opposite of the direction predicted. The Rorschach results
do not support this hypothesis.

The results of comparing users and non-users of oral contraceptives who are high in
PMT with respect to amount of fluctuation with cycle phase on the TAT variables also
showed no difference between the groups. Both groups fluctuated very little on the
TAT variables. The TAT findings do not support the hypothesis.

The data on women high in PMT who use oral contraceptives did not appear to
differentiate them from non-users in amount of fluctuation with cycle phase in
frequency of asking for instructions from the examiner and self-disparaging remarks.

The hypothesis was not upheld by comparison on these variables.

Table 20 shows the absolute fluctuation in scores on the Self-Rating Depression
Scale, comparing users to non-users of oral contraceptives. Among the high PMT
subjects there is no difference in amount of fluctuation with cycle phase between
the two groups. The null hypotheses cannot be rejected on the basis of these data.

Taking all the tests of this hypothesis together, there is not sufficient evidence
to reject the null hypothesis of no difference in amount of fluctuation in test response
with cycle phase between users and non-users of oral contraceptives who are also

high in premenstrual tension.

Hypothesis Ill L. Women low in PMT who use an oral

 

contraceptive will have less fluctuation in test response
with cycle phase than women low in PMT who do not use

an oral contraceptive .

As shown in Table 18, there is no difference between users and non-users of
oral contraceptives who are low in premenstrual tension on amount of fluctuation in
clinician rating with cycle phase. The hypothesis is not upheld.

The results of comparing amount of fluctuation with cycle phase between users

and non-users of oral contraceptives on Rorschach variables showed no difference

E’.’

IfjllllSOll of A550,
25 and Non-user:

 

 

lszhach variable
__________
it'll CF:FC

.“-

til

 

\
assech variable

\
"tention
P,\
.:2: C f:FC
\
“terial

‘mllzalions

TABLE 19

Comparison ofAbsolute Fluctuations on Rorschach Variables With Cycle Phase Between
Users and’Non-users of Oral Contraceptives, Suggestive Findings (Hypotheses llI’K,lll.L)

 

 

HIGH ’PMT'S's'

 

 

 

 

 

 

 

 

 

 

 

Rorschach variable USer I i ' ' ' Non-User (I Predicted Direction
C'and CF:FC I" ’ 1:19, 16:15 I I '- 0:TI No)

M . .. . .. 13., 23 ..-...--- I-..” - ---2 . _ - No

" ‘ LOW ‘PMTS's"

Rorschach variable l .. . 2 User- . .- .- . Non-user .; . . . . Predicted direction
Penetration - ' ' " 7,’ 52' " " 7‘" ' 0,31 No
c and CF:FC ‘ 15:19, 20:5 l‘ ‘ "4:5, 0:8 ' No
Hysterical .. _- . .
verbalizations 44, 49 11, 23 No

 

 

 

 

93

uni-cw"; -.a

1' .v

hmrison of Users
stirors on the Se 1'

 

 

 

TABLE 20
Comparison of Users and Non-users of Oral Contraceptives on Absolute Fluctuation
of Scores on the Self-Rating Depression Scale With Cycle Phase (Hypotheses Ill K, IlIL)

 

 

 

 

 

 

 

 

HIGl-l PMTI S's—
User Non—user
4,13-.. ._ . 3-..
LOW PMT S's
User I ’ Non-user
0, 12 5, 6

 

 

94

acet'on percent 0‘
.risiizations. The
11‘2" tiee littere'
:n'aceatires who a
‘r‘rsers low in PM

l1te'erultsolor
”‘ieiluctuation, in

3259: users and nc

 

 

it cycle phase on
irerewos no di

resets for instru

§=I

.2 till users or
we 20: inconsister‘
ichle 20 gives
Eleni users and n
zr’lsi'oiects the m

View” of thr
2712‘s that the n
75' Etn‘taceptives

\‘I-t .1
-)’L19PI1058' r

2’!
(“En Ike 0110
t; l
’iiimo‘tstroted

171-1 t
"3?ch VOTIQ

\
1 I
' “.7535

"f :l

 

ES liste

i added to

“PIQC-Dy st
. .. Ory

(”i 'nUltivor
Iiiiihe & .
‘00 Slc

95

except on percent of penetration responses, ratio of C and CF to FC and hysterical
verbalizations. The results of fluctuations on these variables are shown in Table 19.
All of these differences are in the opposite direction to that predicted. Users of oral
Contraceptives who are low in PMT seem to fluctuate more on these variables than
non-users low in PMT. The results do not support the hypothesis.

The results of analysis of the amount of fluctuation on TAT variables showed very
little fluctuation, in general, on the TAT with cycle phase. There was no difference
between users and non-users of oral contraceptives low in PMT on amount of fluctuation
with cycle phase on the TAT. The results were not supportive of the hypothesis.

There was no difference in amount of fluctuation with cycle phase in the frequency
of requests for instructions from the examiner or of self-disparaging remarks between
the low PMT users and non-users of oral contraceptives. The findings on these variables
were not inconsistent with the null hypothesis.

Table 20 gives the absolute fluctuations in cycle phase on the Self-Rating Depression
Scale of users and non-users of oral contraceptives . As the table shows, among the low
PMT subjects the null hypothesis cannot be rejected.

When all of the tests of Hypothesis 111 L are considered together, the evidence
indicates that the null hypothesis of no difference between users and non-users of
oral contraceptives, among women low in PMT, in amount of fluctuation in test response

with cycle phase, cannot be rejected.

Additional Findings

 

When the analyses of the hypotheses were complete and so few main effects had

been demonstrated, it was decided that perhaps it would be useful to obtain a "pathology"
score for Rorschach and TAT protocols by adding the scores on the separately hypothesized
pathological variables together and testing the resulting pathology Score. Accordingly,
the variables listed 1 to 15 in Hypothesis 1 B, plus total use of shading, and poor form
were all added to give a Rorschach pathology score. For the TAT pathology score, the
variables listed in Hypothesis 1 C as well as instances of threat of bodily harm, death,

and unhappy story ending were added together. These two variables were analysed

using the multivariate analysis of variance. They did not differentiate PMT group or

cycle time to a significant degree.

I
. . A . .
he selavior We)

The Behavior C
nether any hehavi
it'lIECll as their me
stirritlul than i
‘2 tietionnaire,
it"; free of these
'Sil‘s (p< .05). l
:isl‘awed signil i

 

tech case, the SI
:izacteristics more
ligizlhll subjects 2
axial activities in

lahle 22 show
£1586. Crying
“Liti‘tgu‘shed as a
‘22};le lp = .08
has: in eating
I :1th hath gro
7‘: "Ie arenenstrur
3296? Phil grgr
iiiixgwith in

2:22. (p z .0

The Behavior Questionnaire

 

The Behavior Questionnaire was included in the study as a way of determining
whether any behavior changes observable to another person were taking place in the
subjects as their menstrual cycle phases changed. The results proved to be somewhat
more fruitful than those from other measures used in this study. Of the 41 items in
the questionnaire, ten showed at least one significant effect at the . 10 level or better.
Only three of these however, were significant at the .05 level. Table 21 shows these
results (p < .05). Tension, change in eating habits and avoidance of social activities
all showed significant interactions between cycle phase and premenstrual tension group.
In each case, the subjects low in premenstrual tension were observed to display these
characteristics more in the intermenstruum and less in the premenstruum, while the
high PMT subjects showed more tension, change in eating habits and avoidance of
social activities in the premenstruum, and less in the intermenstruum.

Table 22 shows the variables on which suggestive results (.05 < p<‘ .10) were
obtained. Crying was the only variable on which high and low PMT groups were
distinguished as a main effect, with high PMT subjects rated higher on crying throughout
the cycle (p = .08). Three variables showed main effects for menstrual cycle phase.
Change in eating habits, forgetfulness and bursts of energy or activity were behaviors
on which both groups of subjects were rated higher in the intermenstruum, and lower
in the premenstruum (p = .06, .07 and .10, respectively). Suggestive interactions
between PMT group and menstrual cycle phase occurred on four variables: hard to
get along with (p = .07), complains of headache (p = .09), complains of general aches
and pains (p = .09) and anxious (p = .09). On all four of these variables, high PMT
subjects were rated higher in the premenstruum, while low PMT subjects were rated

higher in the intermenstruum, or, in the case of "anxious", stayed the same.

96

. .“-.v N

V
r" ' -'

Behavior

'larlahle

N

Tense

f u ,
n: 3e in eating h<

 

iris ‘ -
sacral actrv

TABLE 21

Behavior Rating Questionnaire Variables Showing Significant

Effects ,

p<.05

 

 

Variable

Effect F

 

Tense

Change in eating habits

Avoids social activities

Interaction, low PMT 6.94
S's higher in intermenstruum,
high PMT S's higher in

premenstruum

Interaction, low PMT 9.00
S's higher in intermenstruum

high PMT S's higher in

premenstruum. LowS's

fluctuate more than high 5 '5.

Interaction, low PMT S's 10.71
higher in intermenstruum,
high PMT S's higher in

premenstruum .

97

.02

.02

 

hic'rio‘ Rating Q:

‘iariahle I

i‘y’lilg

‘T‘Gelt eating h

”taliulness

 

 

it?! of energy or

I

ll?! lo get oIOng ‘

Wain; Oi head

i I: 0
he 3 . gen
~ he m.

i s

Behavior Rating Questionnaire Variables Showing Suggestive Effects, .05 <p< . 10

TABLE 22

 

 

Variable

Effect

 

Crying

Change in eating habits

Forgetfulness

Bursts of energy or activity

Hard to get along with

Complains of headache

Complains of general
aches and pains

Anxious

Main effect, high PMT S's

higher than low PMT S's
throughout cycle

Main effect, both groups
higher in intermenstruum,
lower in premenstruum

Main effect, both groups
higher in intermenstruum,
lower in premenstruum

Main effect, both groups
higher in intermenstruum,
lower in premenstruum.

Interaction, low PMT S's
higher in intermenstruum,
high PMT S's higher in

premens truum .

Interaction, low PMT S's
higher in intermenstruum,
high PMT S's higher in

premenstruum .

Interaction, high PMT S's
higher in premenstruum,
Low PMT S's higher in

intermenstruum. High group

fluctuates more .

Interaction, low PMT S's

stay the same, high PMT S's

fluctuate more, higher in
prem ens truum .

98

4.45

5.44

5.05

3.85

4.91

4.20

3.95

3.95

.08

.07

.10

.07

.09

.09

.09

CHAPTER FIVE

DISCUSSION

Indiscsslng 0
:‘areviow worl< I?

slfemes one of

 

 

 

 

:sefamind:
I. Thq
be
2. The
the
3. Th
sh
4. Th
tl
°l il‘e Precec

Ii IS hue Il‘IOI
“hens are he

’31
I On, INN/Ever

handily Onc
I‘IL .

In
1112ch

'ldegrec
Em CowWm

‘3':

SMII Scmple

a!

.It‘ed Iindlng

DISCUSSION

Overview
In discussing a study in which a group of hypotheses, developed after careful review
of previous work in the area of study, were supported by the data almost not at all, the
task becomes: one of answering the question, "why?" Several types of answers immediately
come to mind:
I. The sample size was too small to show differences
between groups.
2. The subjects did not truly represent the population
they were intended to represent.
3. The measures were insensitive or inappropriate for
showing differences on the intended dimension.
4. The basic assumptions underlying the hypotheses, and hence,
the literature from which they were derived, are in error.

Each of the preceding areas of explanation will be discussed below.

Sargple Size

 

It is true that a sample size as small as that used in the present study generally will
not lead to the detection of small or subtle differences between groups. Large numbers
of subiects are needed to amplify small effects. Much of the literature on premenstrual
tension, however, claims rather striking differences between sufferers and non-sufferers
in personality and behavior especially in the premenstruum. If, indeed, it is true
that these differences are large, it should be possible to differentiate to a statistically
significant degree two groups which are drawn from the extremes of the premenstrual
tension continuum, even though the number of subiects is small.

Small sample size, therefore, is not a sufficient explanation for the lack of
predicted findings, because the sample was drawn from extreme groups on a pre-measure
of premenstrual tension.

Unrepresentative Subjects

 

That the subiects in the present study are not representative of the patient
population of premenstrual tension sufferers is an important criticism of this piece of

research. There is sufficient evidence to state with confidence that premenstrual
100

L' , v ~<—,'-"*‘ L.__U

 

'nim increases V-

ientddle-aged "I
Aquation WC
‘3 :laoslng sublet

meat one who to

 

reef reliability 0‘

with. The result

Table 25

\
\

Intact Ll

 

 

 

 

IOI

tension increases with age and parity. The subjects of the present study were all young
nullipara. As such they are not only physiologically but psychologically different from
the middle-aged multipara who is the typical patient with this syndrome.

A question was also raised regarding the validity of the MDQ as a criterion measure
for choosing subjects for the study. Since a second MDQ was gathered from the subjects
(except one who failed to return it), it was possible to make some assessment of the
retest reliability of the instrument in these subjects over an interval of six to eleven

months. The results are shown in Table

Table 23 Comparison of Subject's Scores on the MDQ Before
Selection and at the Conclusion of the Study.

 

 

 

 

High Group Low Group
Subject Pre Score Post Score Subject Pre Score Post Score
A I70 I56 E 52 --
B I39 72 F 47 52
C I37 9I G 47 70
D I37 I49 H 47 89

 

 

 

 

As shown in the table, there was a definite drift toward the mean over time.
Among the high scorers, though two of the four maintained high scores on the second
testing, the other two dropped 67 and 46 points, respectively.

Among the original low scoring group, there was a 5 to 42 point shift upward on
g the second testing. The combined shifts of the two groups had the effect of making
four of the subjects, two from each original 90 up, indistinguishable from each other
on the basis of the MDQ. Thus it seems likely that the two groups tested were not

truly two different groups, an underlying assumption on which the study depends.
Measures

As discussed above, it is questionable whether the MDQ is as appropriate 0

measure of premenstrual itension as other studies have shown (Moos, 1968, l969a,
I969b; Moos et al, I969.)

“4.3

._.—,..w_

lust more interes

Perhaps the si
I'll piatocols ior :
Title (luring whlci
we else. Pets
same, With situ

wide additional

 

are al the fundame

“DI
em:
tes
Til-l9 EVlClence

mean, of coun

"moroiectiv

2.
Misery to Sit

:lc‘llga Wllll CYCI

ll'nt llle pTOjI

w
J

’i ‘5» Wm
lIIIIdSm. In 1+,
'5.
‘tt:
5%”. \
“ ‘CIOI measur

‘95:,"

,E of pefion.
3‘12! q .
1‘1"»: .

”I On ”I Ilte l

in:
Slud), l

‘3
a

102

Much more interesting , however, were the results of the projective measures.

Perhaps the single most important finding of the study was that the Rorschach and
TAT protocols for any subject were not greatly affected by the phase of the menstrual
cycle during which testing took place. Each subject looked more like herself than like
anyone else. Personality was by far the most important determinant of projective test
response, with situational changes playing a much lesser role. These findings not only
provide additional evidence of the reliability of these instruments, they also answer
one of the fundamental questions of this study, as framed in Chapter Two:

"Does a significantly different personality picture

emerge when subjects are given standard personality
tests during different menstrual cycle phases?"

The evidence of the present study would provide a resounding, "no. " This does
not mean, of course, that there are not individuals who would produce significantly
different projective test protocols during different menstrual cycle phases. It would
be necessary to study patients clinically identified as undergoing drastic personality
changes with cycle phase, to provide a more definitive answer to this question.

That the projective measures did not effectively distinguish the high and low PMT
groups is, again, a tribute to their effectiveness as measures of personality rather than
a criticism. In this study there were no personality patterns discernible on the tests
which characterized one group as opposed to the other mbabgh because there really
were n3 characteristic personality differences between them. A much more
superficial measure, on the other hand, the Self Rating Depression Scale, did
differentiate premenstrual from intermenstrual testings precisely because it is not a
measure of personality, but of transient emotional state. This upholds the findings of
other questionnaire-type measures of mood which have shown a higher incidence of
depression in the premenstruum.

The Behavior Questionnaire is particularly useful in interpreting the findings of
the present study because it demonstrates that there is indeed something observable
happening to women 's behavior during the menstrual cycle. Used together with the
projective measures it clearly shows that in this group, at least, the "something"
that does happen to some women's behavior during menstrual cycle changes is not a
personality change, but a mood change, a finding which is certainly consistent with

accepted psychological concepts of personality.

 

itle menstrual

   

greet, IIWOUlCl
:reviewed in Che
mils. from Sl’tt
“assistant.
Sheriey‘s atgt
t. it'rencls , when
.. t r
3009‘], all 0.

Yeah sexueli

%

MOW well-
imls l0CI< dll
lmlfilcol fe
335$“ Ore se
3st... emblt’o
i“- llle Tend er

i‘s
‘I

lilS readyc

m3“ sensiti

Basic Assumptions

 

In her book, The Nature and—Evolution 9! Female Sexuality, Mary Jane Sherfey,

 

(1972) presents a view of premenstrual tension which is entirely different from any other
in the premenstrual tension literature. If her revolutionary conceptualization is, in fact,
correct, it would explain both the findings of the present study and the existing literature
as reviewed in Chapter One, which otherwise seem reconcilable only on methodological
grounds. From Sherfey's point of view these seemingly opposing findings would not be
inconsistent.

Sherfey's argument derives from some recent findings in the biological sciences,
but intends, when completed, to include discoveries in anthropology and ancient
mythology, all of which will be used to alter evolutionary and psychoanalytic concepts

of female sexuality and development .

Biological background:

A now well-accepted fact not known in Freud's time is that during embryogenesis,

 

females lack differentiating fetal hormones. That is, nature will always produce a
morphological female during human embryonic differentiation unless appropriate
androgens are secreted, starting at around the sixth week after conception, in which
case the embryo differentiates as a male. The lack of hormonal conditioning during

fetal life renders the female more sensitive to it later in life, especially to androgens,
since some embryonic and strong maternal estrogenic activity is present during embryonic
life.

This ready Chndrogen responsivity provides the physiological mechanism by which
androgen sensitive structures could be evolved to enhance the female's sexual capacity
(androgen being the "libido" hormone). Sherfey then goes on to point out that in
certain primates the females exhibit an intensely aggressive sexual drive and insatiable
appetite for copulation during periods of heat. This is due to the evolution of 1) a
highly developed clitoral system, 2) certain secondary sexual characteristics, especially
skin erotism and 3) an extreme degree of perineal sexual edema due, in part, to
progesterone with it's strong androgenic properties. In terms of natural selection, it
seems clear that the breeding premium would go to those females with the most insatiable

sexual capacity.
103

— m‘avvrw:

lint the normc

 

isostated scien‘
'13:: understondln
ton {loing owe;
the nature ol the

mo; ll the disc
lane's Hypothese
Based upon the
l. The

gre

prlr

odc

 

the

C0

ph

Prir

104

That the normal human female has a similar capacity for sexual activity was first
demonstrated scientifically by Masters and Johnson (1966) . Their most important findings
for an understanding of female sexuality were: 1) the demonstration of a single site of
orgasm (doing away with the clitoral-vaginal orgasm controversy); 2) the understanding
of the nature of the anatomical-physiological mechanisms of sexual excitement and

orgasm; 3) the discovery of multiple orgasm as a normal phenomenon in the female.

Sherfey's Hypotheses:

Based upon these findings, Sherfey proposes the following hypotheses:

1. That the erotogenic potential of the clitoral glans is probably
greater than that of the lower vagina, so that the evolution of
primate sexuality has occurred primarily through selection toward
adaptations of the perineal edema and the clitoral complex, not
the vagina.

2. That the orgasmic potential of the human female is similar to that
of other primates, given optimal conditions of arousal. In both
human and infra-human primates, orgasm is best achieved with a
high degree of pelvic vasocongestion and edema associated with

the period of heat in the primates and with the last 14 dafiof the

 

menstrual cfle in women (or with prolonged, effective stimulation).
Given these conditions, each orgasm tends to increase pelvic vaso-
congestion, so that the more orgasms occur, the more ca; occur until
physical exhaustion intervenes.
3. That this inordinate cyclic sexual capacity which evolved in
primates resulted in a "paradoxical state of sexual insatiat ion
in the presence of the utmost sexual satiation (p. 144)," so
that the breeding premium would go to the female with the
greatest pelvic edema, the most effective clitoral erotism
and the most aggressive sexual behavior.
4. That the rise of modern civilization was contingent upon the
suppression of this inordinate female sexual drive.
This last hypothesis, although of major importance in Sherfey's conceptualization

of the evolution of female sexuality, is touched upon just briefly both in her original

Anus-a -‘—- .

1|“

T‘.r

.".”

utility Wlll be jc
~h_ \.

w"? of

me lllflél and h
a: devoted largel ;.
wept: of female
tv’lilétce that the

what Iota from

elated lull sexua
seal drive. One
nticultural metha
steed- lnowlecgl

five of women, °l

The few OI WC
are in Mytholog:
552*. men and w.
hixthe he), l0 L
”'9“ W316 11101 is

Ill-WI CIIOHQES 1'

:T 3? meme-”SITUQI

‘eeatic behavio

:t‘ocepfivs IEIO

I'll it 051/1015;

:1:

:llllotjs {of Unc

I: ll 315585 WOr

s,
‘l ex-‘ent

 

  
 
  

OUI Spe
'1 MW: and

”filial;
3” llat me'

“3% .

105

paper (1966) and her book (1972) . She intends to publish a second volume which will
be devoted largely to this fourth hypothesis and to the revision of psychoanalytic
concepts of female sexuality. Basically, however, she believes that there is good
evidence that the subjugation of women by men took at least 5,000 years. The
earliest data from 12,000 to 8000 B.C. , she says, indicate that precivilized women
enjoyed full sexual freedom and were often incapable of controlling their intense
sexual drive. One reason for the long delay between the earliest development of
agricultural methods around 12 ,000 B. C. and the rise of urban life and beginning of
recorded knowledg around 8000 to 5000 B. C . was the ungovernable cyclic sexual

drive of women, according to Sherfey.
Implications

The fear of women and their insatiable sexual demands is certainly a very old
theme in mythology (Lederer, 1968 ) and a very familiar theme in the fantasies
of both men and women, but to propose it as the reason for male domination of women
and as the key to understanding premenstrual tension, is a juxtaposition of old ideas
in new ways that is revolutionary. If Sherfey is right, however, that during the pre-
menstrual time women are experiencing a physiologic heightened sexual drive due to
hormonal changes (which we know do occur), and that the increased pelvic vasocongest-
ion of premenstrual tension is the same as during the early stages of sexual excitement,
the erratic behavior, distribution according to age and parity and effects of oral
contraceptives related to premenstrual tension would all be explained, and the treatment

would be obvious, simple and readily available at no expense.

Iflplications for understanding_the smdrome:

Whether it is for the reasons Sherfey gives, it is none the less true that modern
culture teaches women not to notice or enjoy their sexuality (this is also true, to a
lesser extent, of men, but as that is not the focus of the present discussion, male
sexuality will be ignored here). We are taught to believe that men are the sexual
creatures of our species, that "good" girls engage in sexual intercourse only with
their husbands and only for their husbands' pleasure or for procreative purposes. We
are taught that menstruation is "dirty", "smelly, " and generally unpleasant, so that

we ought to avoid intercourse during this unclean time. (I recently heard a woman

'r-fti‘ ‘1‘3‘ 5'7” "I

'63th thng 0 1'

Although sex;
:19 slat/Iv than C

, , r
titttne above cot
safely and, more
m, therefore,

use excited, I

 

'-:eased sexuol 0
:21 that, and cer‘

Io male math
2'! greatly increa
teasing sexual
:risexual drive <
23.513131 that teacl
:iesexual besir
rLrenavamon hc
solesexuality

v t

8,0 y

5
0 :

Willa, 0 III

9:!“ . .
'HHQIBOII

106

refer to having a hysterectomy as "joining the post-curse club. ")

Although sexual mores are changing in this country, attitudes and beliefs change
more slowly than behavior, so that many "liberated" young women who do not agree
with the above complex of attitudes toward female sexuality still feel their force, both
socially and, more importantly, unconsciously. During the time of premenstrual pelvic
edema, therefore, we have the paradoxical situation of a woman whose body feels
halfway excited, but who has been taught not to notice her body feelings; who feels an
increased sexual appetite, but who has been taught that nice, mature women don't
feel that, and certainly don't act on it.

To make matters worse, with each succeeding pregnancy the pelvic vascular structures
are greatly increased, enhancing the intensity of sexual drive and orgasm, and with the
increasing sexual experience that comes with age in most women, orgasmic capacity
and sexual drive are also increased. But this is directly opposed to the values of a
society that teaches that the lo_un_g_are sexual and attractive. If any woman is allowed
to be sexual besides the "bad" woman, it is the young woman. At a pre-historical time
when a woman had had her third or fourth child by age nineteen, peaks of male and
female sexuality were nicely timed. In today's culture, however, with its delayed
adolescence, a woman begins to reach her full sexual capacity during her thirties
and forties, a time in life when our culture teaches that women are interested in
mothering, not in sexual enjoyment, and when men have "sowed their wild oats" and
"settled down. "

So it is that premenstrual tension, indicative of sexual capacity, increases with
age and parity. No wonder women behave strangely during this time '. No wonder
they cry, feel moody, have sudden bursts of energy, are tense, and so on. They are
sexually excited but are not allowed to notice it or express it directly, hence, they
are terribly frustrated. The behaviors they evidence are attempts to deal with an
intolerable situation. They cannot concentrate because sexual excitement is distracting,
hence they have accidents. For those with properly predisposing life experiences, it
may represent a double bind situation leading to episodes of psychosis or attempts
at suicide. Thus, using Sherfey's hypotheses it is possible to explain most satisfactorily
both the observed behavior changes (from the mild to the extreme), during the pre-

menstruum, and their increase with age and parity, using a psycho—biologic model.

 

 

.-. ,,_..._,j
3..."

Tie ir‘rricacy ol .‘l'

 

:Iccienical inter:
mfthe parts a

heseerringly c0"-

.1 be reconcilec

 

Jizhgic irteracti
The role of or
eryvonen can i
J”It. The hormc
field from cyclic
this treatment t
31's oi individual
faee oi conflict
71' contraceptive
:1: than heiore
I‘ltteliet ol or
{that of

L

‘/ OI orgc

Pregnc

- when who llQ‘
T? F I
fiflellenCed T

3‘95”“ a
‘ ~ W1 Ih
Org
Tfizit

'7') Sane

“'"iv, it ls l
:l

'ai

7t

1

i‘r'

{In a
.. ”tong Illa
"115,1.

107

The intricacy of the psychic-physiologic-anatomical and (as yet undiscovered)
biochemical interactions involved, presents a picture so complex that changes in any
one of the parts of this dynamic interaction will produce changes in the rest. Thus,
the seemingly contradictory findings of much of the premenstrual tension literature

can be reconciled.

Implications for treatment:

 

The partial effectiveness of the myriad of treatments for premenstrual tension
can be understood in this light as each affecting some small portion of this psycho-
biologic interaction, each of which would be appropriate for some, but not all cases.

The role of oral contraceptives in providing relief of premenstrual tension in so
many women can be understood in this way. Foremost would be a simple hormonal
effect. The hormones in the drug disrupt the regular menstrual cycle, providing
relief from cyclic sexual tension and the resulting conflicts raised by it. The failure
of this treatment to provide relief for g_l_l sufferers could further be explained on the
basis of individual differences both in level of sensitivity to amounts of hormone and
degree of conflict over sexuality. Furthermore, studies have shown that women using
oral contraceptives tend to have sexual intercourse more frequently, and enjoy it
more than before they began using the drug. Another effect of oral contraceptives,
in the relief of premenstrual tension, could be that of more frequent orgasm. With
the fear of pregnancy removed by the use of a "safe" contraceptive, increased
frequency of orgasm is perhaps an important result of the use of oral contraceptives
in women who have already developed their orgasmic capacity (in women who have
not experienced regular orgasms, the use of an oral contraceptive would tend to
interfere with orgasms by eliminating the cyclic increases in sexual drive and orgasmic
capacity.) Since orgasmic capacity and premenstrual tension both increase with age
and parity, it is likely that the direct hormonal effect and the psychological, indirect
effect of oral contraceptives both play an important role in the relief of premenstrual
tension among those older, multiparous women who comprise the great majority of

sufferers .

~41

‘r‘v lime. “

l? follows 109'
arson would he
:rlrrral influence:
teaemission oi
:ereeded to help
add use women '5
:her women to er

noise in mastur

 

 

z'eloaelully, Ill!
his treatment, all
lier'ey derives he
aaeience, are a
more "a whore,
atria to he seer
erelized. The
varsaecies has
heather has hel

 

eUTIYj
:fij0IeXQmpje

is
El“

lll‘l pr

Q Are w
.l‘lxlllly, fhor

.zll'lillc expfeSS
1 .
.lé ll-ldlllgs
tr.
Se‘lerqj

108

It follows logically from this discussion that the treatment of choice in premenstrual
tension would be the oldest one available to the human race, since last in years of
cultural influence: frequent orgasm. For some women this treatment would require only
the permission of the doctor-parent to be effective. For others, psychotherapy might
be needed to help work through their conflicts over sexual expression. Still others
could use women's "rap groups" to talk about their feelings and obtain permission from
other women to enjoy their sexuality. Another group might need instruction and
practice in masturbating to orgasm, again with the permission of parent figures, peers,
and hopefully, the changing attitudes of society. A major obstacle to the success of
this treatment, of course, would be the underlying fear of losing control from which
Sherfey derives her whole theory. Both men and women, it is clear from clinical
experience, are afraid that once they "let go" sexually, they will be unfaithful,
become "a whore," never want to do anything else, or otherwise lose control. It
remains to be seen whether Sherfey's worst fears about the demise of civilization will
be realized. The present author believes that such a catastrophe is not likely. The
human species has come for since 12,000 B.C. in cultural achievements. One human
force that has helped, for years, to channel human sexuality is love, the power of
which is clearly equal to or greater than the power of such instinctual drives as sex

(see, for example, Fromm, 1956).

Implications for the present study:

 

The problems raised in Chapter Two can now be re-examined in the light of Sherfey's
theory.
Problem I: Are women high in premenstrual tension more neurotic, or less well adjusted,
emotionally, than women low in premenstrual tension, and is their premenstrual tension
a somatic expression of their neurotic conflict?

The findings of this study were not at all supportive of this view of premenstrual
tension. Several of the subjects appeared neurotic on the basis of their projective
test protocols, but there was no clear relationship between the degree of emotional
adjustment and high or low premenstrual tension . Since no data were gathered about
their sexual activity, one can only speculate that perhaps those with low premenstrual

tension were enjoying more frequent orgasms than those in the other group. If, indeed,

 

j! _

__.—_‘_.—v
_m-—v

3:»

mt: provides 1
elislility of the
siege in sexual

It is not a'r'l
:cherts that the
sets, they wer
at common pr
aull exhibit tl
all to be alma
of sane reasc
filament was
trelleas might

"I 5". II: D

\
l”?! Shh/lard

W39 occur I

A; discusS
'cycle, ever
ears; are CC
glelgltlEBeCl 5
Fierce: are
‘e': changed

.‘c‘ lila‘tlor (

 

 

109

orgasm provides relief from premenstrual tension symptoms, the poor test - retest
reliability of the MDQ may reflect a real change in premenstrual tension due to a
change in sexual activity.

It is not difficult to understand the clinical impression of physicians treating thee
patients that they were suffering from a neurotic or other emotional problem. In a
sense, they were , if Sherfey's theory is correct. They were suffering from one of the
most common problems of women in our modern Wetern culture: frigidity. Such women
would exhibit the kind of conflicts over acceptance of their sexual self that may be
said to be almost normative in this country, but might go unnoticed unless a professional
had some reason to look for them. This would not necesarily mean that their overall
adjustment was any poorer than women low in premenstrual tension, whose adjustment

problems might lie in other areas.

Problem II: Doe a significantly different personality picture emerge when subjects are

 

given standard personality tests during different menstrual cycle phase? Doe this

change occur to a greater degree in women high than women low in premenstrual tension?
As discussed above, there was no clear evidence of personality change with time

in cycle, even though there was some evidence of behavior change. Again, thee

findings are consistent with Sherfey's view of premenstrual tension. If women experience

a heightened sexual tension during the premenstruum but because of cultural and personal

influence are unable to recognize or act upon it, it is not difficult to understand how

their changed behavior could be interpreted as a personality change. Changed mood

and behavior are a common occurrence. When this occurs it is usual to ask, "what's

the matter?" If the person replie by telling of an upsetting or frustrating experience,

we find it easy to understand the change. If no explanation is forthcoming because

the person doe not know, we are much more likely to regard it as a "personality"

change, rather than a situational reaction. It is easy to imagine that this is precisely

what happens during premenstrual tension. The wife is irritable and tense (excited),

the husband becomes exasperated and shouts, "What's the matter with you, anyway 1"

The wife bursts into tears and says she doesn't know, the husband reponds "You're

crazy, that's what, " and she secretly thinks so too because neither of them knows that

she is really excited.

 

jl

.~———__.
__.—__

is“

 

lmlet‘. III' I.

 

hl’GIT-lefllsl C

The effecti
resort has her
Inhep'esents
rev-ensaual I6
aseol orerre:
hr. to interler
aserotimal
la, and, one
h::'-ount of l
Loo-'55 ovulat'
surf tension.
Stfil‘he drug
listened sexr

haiicatloas lot
\

l‘t‘O Iurthe

ihaslrual te

 

 

llO

Problem Ill: How does the use of an oral contraceptive interact with any effects found

in Problems I and II?

 

The effectiveness of the use of oral contraceptives as a treatment for premenstrual
tension has been discussed above under "Implications for Treatment." The hypotheses
in the present study regarding interactions between use of oral contraceptives and
premenstrual tension group were based on the idea that neuroticism was an important
cause of premenstrual tension, and that although the hormonal effect of the drugs would
tend to interfere with the somatic expression of the neurotic conflict, the underlying
poor emotional adiustment would still be evident. The findings did not support this
idea, and, once again, Sherfey's theory is consistent with the data. For some women
the amount of hormone in the oral contraceptive she uses may be great enough to
suppress ovulation without being great enough to eliminate cyclic changes in level of
sexual tension. For such women premenstrual tension could still occur in spite of the
use of the drug if sexual activity were not frequent or satisfying enough to meet her

heightened sexual needs.
Implications for further study:

Two further studies immediately come to mind to test some of the tentative conclus-
ions drawn above. Both would use patients seeking medical help for treatment of
premenstrual tension, to avoid some of the pitfalls of subject selection of the present
study.

One would be a study of patients identified by themselves or others (physician,
husband, friends) as undergoing marked changes in personality during the premenstruum.
Using a design similar to that of the present study, patients would be compared with
controls on behavior, proiective tests and subiective reactions to see whether actual
personality changes or only behavior changes, as in the present study, occurred. In
addition, interviews would be used to gather information about their level of sexual
activity, enjoyment, feelings about their bodies and themselves as people, to give a
more complete picture of sufferers as opposed to controls. Such a study would give a
more definitive answer to the question of personality change with cycle phase.

A second study would be an experimental treatment program based upon Sherfey's

theory of heightened sexual tension as the cause of premenstrual tension. It would

13;": ZZZ: “H

i-ehelollowlng 0 gr

*3:st through orgasm
hxtnentond other tre
hehads of helping war
talquich and effecti'
£1.3de counseling,
Seshown to be on efie
hgicallylollow aimec

{Ll}. '
:temngpohents ac

 

lll

involve following a group of patients who are instructed in the relief of premenstrual
tension through orgasm and comparing the effectiveness of this treatment with no
treatment and other treatment groups. Such a study would also explore various
methods of helping women learn to experience regular orgasms to make the treatment
most quick and effective for them, for example, group sessions with fellow-patients,
individual counseling, instruction in sexual technique, and so on. If orgasm could
be shown to be an effective treatment for premenstrual tension, other studies would
logically follow aimed toward refining the determination of the most effective methods

of helping patients according to their individual needs.

“via

5 7...;

hashes, f. and P0!

Psychosomatic Me
‘1 —

5291, E.B. Menstrw

and treatment. I

Chen, LB. and Hen

American Joumc
\

N

*W, M., Know

mmen. Psyc
\

"eh-’12, J. and Abir

{Clinical End.

‘

“him AJ. and
m 1936'

ssh, "h" .F. ond 1-
m the premensl
he i

\ oumol g
"‘9‘" C-3. and l
ooh
\ Wecolog

I \
ain't- Chror

till relofion .
‘33th

Cl: ln
\&

LIST OF REFERENCES

Alexander, F. and Portis, S.A. A psychosomatic study of hypoglycemic fatigue.
Pfllchosomatic Medicine, I944, 6, I9I-206.

 

Allen, E.B. Menstrual disfunctions in disorders of the personality: their nature
and treatment. Endocrinology, I935, I9, 255-268.

 

Allen, E.B. and Henry, G.W. The relation of menstruation to personality disorders.
American Journal °_f. Psychiatry, I933, 90, 239-276.

Altmann, M., Knowles, E. and Bull, H.D. A psychosomatic study of the sex cycle
in women. Psychosomatic Medicine, I941, 3, 199-225.

 

Argonz, J. and Abinzano, C. Premenstrual tension treated with vitamin A. Journal
nglinical Endocrinology, I950, I0, I579-I589.

 

 

 

Atkinson, A.J. and 'lvy, A.C. Menstrual edema. American Medical Association
Journal, I936, I06, 515-5I7.

 

 

Baden, W.F. and Lizcano, H .R. Evaluation of a new diuretic drug (Quinethazone)
in the premenstrual tension syndrome. Journal of Clinical Pharmacology and

the Journal of New Drugs, I963, 3, I67-I7I.—

 

Bakker, C .B. and Dightman, C.R. Side effects of oral contraceptives. Obstetrics
g_r1_d_ Gynecology, I966, 28, 373-379.

 

Beck, A.C. Chronological fluctuations of six premenstrual tension variables and
their relation to traditional-modern sex role stereotypes. Dissertation
Abstracts International, I971, 3I (8-B), 4980.

 

 

Beck, S.J., Beck, A.G., Levitt, E.E. and Molish, H.B. Rorschach's Lest.
New York: Grune and Stratton, I96I.

 

Benedek, T. The organization of the reproductive drive. International Journal
o_f Psycho-Analysis, I960, 41, I-IS.

 

 

 

Benedek, T. and Rubenstein, B.B. The correlations between ovarian activity and

psychodynamic processes: I. The ovaulative phase. Psychosomatic Medicine,
I939a, I, 246-270.

 

I12

ier'eiei, I. and Rub
psychodynamic p
l939h, I, 46M

Ethan, W. Premen:
Ahencon Joumc

_—
a

"lien, W. and W o<
hi. icine, I95

I-I'ie'SmI III .ond W o
Mioloqy and

-“-

IIIQIII-qE Jr. T
Record oiMedi

III. 0. and Brad

I n
arencon JOUI'T
\

\

Sixi’d, M.S., Bisi

III°I°9Y OI me
tension. H. S

C.V,E. Var

)3"

met, I.l. Rhyt

’encon
\ JOUl

III L 0nd Russ

“MK The

ISSertgficm

\nA

~

II3

Benedek, T. and Rubenstein, B.B. The correlations between ovarian activity and

psychodynamic processes: II. The menstrual phase. Psychosomatic Medicine,
193%, I, 46I-485.

 

Bickers, W. Premenstrual tension and its relationship to water metabolism.
American Journal at Obstetrics and Gynecology, I952, 64, 587-590.

 

 

Bickers, W. and Woods, M. Premenstrual tension. New England Journal of
Medicine, I95Ia, 245, 453-456. _

 

Bickers, W. and Woods, M. Premenstrual tension-rational treatment. Texas Reports
ErlBioIogy and Medicine, I95Ib, 9, 406-4I9.

 

 

Billig, H.E., Jr. The role of premenstrual tension in industry. International
Record of Medicine and General Practice Clinics, I953, I66, 487-Z9I.

 

Billig, O. and Bradley, J.D. Combined shock and corpus Iuteum hormone therapy.
American Journal i Psychiatry, I946, I02, 783-787.

Biskind, M.S., Biskind, G.R. and Biskind, L.H. Nutritional deficiency in the
etiology of menorrhagia, metorrhagia, cystic mastitis and premenstrual
tension. II. Surgery, Gynecology and Obstetrics, I944, 78, 49-57.

 

Boas, C.V.E. Variations of libido during the menstrual cycle. International
Journal o_f_Seonogy, I955, 8, 214-219.

 

Brewer, J. I. Rhythmic changes in skin capillaries and their relation to menstruation.
American Journal of Obstetrics and Gynecology, I938, 36, 597-6I2.

 

 

Bruce, J. and Russell, G.F.M. Premenstrual tension. Lancet, I962, 2, 267-27I.

 

Byram, N.K. The influence of selected transitory states on personality traits.
Dissertation Abstracts International, I970, 30 (IO-B), 4786-4787.

 

 

Cooke, W.R. The differential psychology of the American woman. Journal 3:
Obstetrics and Gynecology, I945, 49, 457-472.

 

 

Coppen, A. and Kessel, N. Menstruation and personality. British 'Joumal 9_f_
Psychiatz, I963, I09, 7II-72I.

 

Dalton, K. Menstruation and acute psychiatric illnesses. British Medical Journal,
I959, I, I48-I49.

 

Dalton, K. Effect of menstruation on school girls' weekly work. British Medical
Journal, I960a, I, 326-328.

 

 

 

.3

. .. n...
wvv

IJI‘Dfl, KI Me
I426.

izhon, K. Sci
2, I647-I6

Flinn, K. Me
I753.

Ezltan, K. Th.
I9é4o. —

35m, K. Th
OI Medicir
-\

315an K. Th

Oi I‘Aédlcil
_\

JzIYl COD. R

Ini‘v‘mulio
\

‘_--,'..i.
r- :45, G.E.

no‘~-"‘“0nes .

[III-333°” on:

I‘m C-H.
A

I Nari con
\

2. I

~21. \n
.s, ..'

menorrh

1c ’8' 0n:
I938

II4

Dalton, K. Menstruation and accidents. British Medical Journal, I960b, 2, I425-
I426.

 

Dalton, K. Schoolgirls' behavior and menstruation. British Medical Journal, I960c,
2, I647-I649.

 

Dalton, K. Menstruation and crime. British Medical Journal, I96I, 2, I752-
I753.

 

 

 

Dalton, K. The premenstrual syndrome. Springfield, III.: Charles C. Thomas,
I964a.

 

Dalton, K. The influence of menstruation on health and disease. Royal Society
<_>_f_ Medicine Proceedings, I964b, 57, 262-264.

 

 

Dalton, K. The influence of mother's menstruation on her child. Royal Society
ngedicine Proceedings, I966, 59, IOI4-IOI6.

 

 

Daly, C.D. Role of menstruation in human phylogenesis and ontogenesis.
International Journal i Psycho-Analysis, I943, 24, I5I-I70.

 

 

Daniels, G.E. An approach to psychological control studies of urinary sex
hormones. American Journal o_f Psychiatry, I943, I00, 23I-239.

Depression and oral contraceptives. British Medical Journal, I970, 4, I27-I28.

 

 

 

Duncan, C.H. and Taylor, H.E., Jr. A psychosomatic study of pelvic congestion.
American Journal o_f Obstetrics and Gynecology, I952, 64, I-I2.

 

 

Engles, W.D., Pattee, C.J. and Wittkower, E.D. Emotional settings of functional
amenorrhea. Psychosomatic Medicine, I964, 26, 682-700.

 

Fisher, S. and Cleveland, S.E. Body image and personality. New York: Dover,
I968.

 

Ferguson, J.H. and Vermillion, M.B. Premenstrual tension. Obstetrics and
Gynecology, I957, 9, 6I5-6I9.

 

 

Frcnk, R.T. The hormonal causes of premenstrual tension. Archives if. Neurology
and Psychiatry, I93I, 26, I053-IO57.

 

Freed, S.C. The treatment of premenstrual distress, with special consideration
of the androgens. Journal of the American Medical Association, I945, I27,
377-379. -———

 

 

x1:;:'.:: "I!

heed, S.C. Hi:
of Medicine
‘eefi, S.C. and
Pn'chosomot

 

ioiiich, M. Ir

OI Medicine
I‘D’Tl, E. The

Slum, I. N
SDecioI refe
Ifimrinolc
\

:Jeschnidt, T
Abnormal c
\-

ithholk, L,
III WOIIOn
IIQRSITUOI c

q

"if. E.C.(3
med Chan

"mn, R.
QIIBVIo
.I “IEd

II5

Freed, S.C. History and causation of premenstrual tension. International Record
of Medicine and General Practice Clinics, I953, I66, 465-468.

 

Freed, S.C. and Kroger, W.S. Psychologic manifestations of the menstrual cycle.
fiychosomatic Medicine, I950, I2, 229-235.

 

Frohlich, M. Influence of female endocrines on epilepsy. International Record
_cfi Medicine and General Practice Clinics, I953, I66, 9-I I.

 

 

Fromm, E. The art of loving. New York: Harper, I956.

 

Gillman, J. Nature of subiective reactions evoked in women by progesterone with
special reference to problems of premenstrual tension. Journal of Clinical

Endocrinology, I942, 2, 157-160.

 

 

Goldschmidt, T. The menstrual taboo and woman's psychology. Journal 9:

Abnormal and Social Psychology, I934, 29, 218-221.

 

 

Gottschalk, L., Kaplan, S., Gleser, G. and Winget, C. Variations in magnitude
of emotion: A method applied to anxiety and hostility during phases of the
menstrual cycle. Psychosomatic Medicine, I962, 24, 300-3”.

 

Grant, E.C.G. and Pryse-Dovies, J. Effect of oral contraceptives on depressive

mood changes and on monoamine oxidase and phosphatases. British Medicine
Journal, I968, 3, 777-780.

 

Greenblatt, R.B. Syndrome of major menstrual molimina with hyperrnenorrhea

alleviated by testosterone propionate. Journal _ci the American Medical
Association, I940, II5, I20-I2I.

 

 

 

Greenblatt, R.B., McCall, E.F. and Torpin, R. Oral progestin (anhydro-hydroxy-

progesterone) in the treatment of dysmenorrhea. American Journal 5i Obstetrics
and Gynecology, I941, 42, 50-53.

 

 

Greenblatt, R.B., Mortara, F. and Torpin, R. Sexual libido in the female.
American Journal at Obstetrics and Gynecology, I942, 44, 658-663.

 

 

Greene, R. and Dalton, K. The premenstrual syndrome. British Medical Journal,
I953, I, IOO7-IOI4.

 

 

 

Greene, R. and Dalton, K. Discussion on the premenstrual syndrome. Royal
Society at Medicine Proceedings, I955, 48, 337-347.

 

Greenhill, J.P. The treatment of premenstrual tension by electrolytes. International

 

Record ‘1 Medicine and General Practice Clinics, 1953, 166, 502—564.

 

 

 

 

J

3‘."— ‘r—TI'f‘

{-egory, B.A.J.
I. Journal a

hag-ow, S.A.l.

II. Journal

‘Iifi, J.D., Lin
irreg.larity,

mo, 14, E

‘1#,II.D. Mo
I363, I, \(

'hiIey, f.H.
SCIEnce, I
a

hen» n.3,
I, 637'64'

D .
' SI’CI‘Osom
\‘

I
'5'.-
T HF o I

will cont;

“he. 8»

Ex, I‘I'II‘EO I

an:
\%

116

Gregory, B.A.J.C. The menstrual cycle and its disorders in psychiatric patients. -
I. Journal _o_f_ Psychosomatic Research, 19570, 2, 61-79.

 

Gregory, B.A.J.C. The menstrual cycle and its disorders in psychiatric patients. -
II. Journal _o_f_ Psychosomatic Research, 1957b, 2, 199-224.

 

Hain, J.D., Linton, P.H., Eber, H.W. and Chapman, M.M. Menstrual
irregularity, symptoms, and personality. Journal o_f Psychosomatic Research,
1970, 14, 81-87.

 

Hart, R.D. Monthly rhythm of libido in married women. British Medical Journal,
1960, 1, 1023-1024.

 

Healey, F.H. Menstruation in relation to mental disorders. Journal of Mental
Science, 1928, 74, 488—492.

 

 

Hegarty, A.B. Post-puerperal recurrent depression. British Medical Journal, 1955,
1, 637-640.

 

Herzberg, B.N. Body composition and premenstrual tension. Journal o_f
Psychosomatic Research, 1971, 15, 251-257.

 

 

 

Herzberg, B. and Coppen, A. Changes in psychological symptoms in women taking
oral contraceptives. British Journal ngsychiatry, I970, 116, 161-164.

 

Herzberg, B.N., Johnson, A.L. and Brown, S. Depressive symptoms and oral
contraceptives. British Medical Journal, 1970, 4, 142-145.

 

Hood, W.E. and Bond, W.L. Envoid therapy for premenstrual tension. Obstetrics
21d Gynecology, 1959, 14, 239-241.

 

Israel, S.L. Premenstrual tension. Journal of the American Medical Association,

1938, 110, 1721-1723.

 

 

 

 

Israel, S.L. The clinical pattern and etiology of premenstrual tension.
International Record o_f Medicine and General Practice Clinics, 1953, 166,
469-474. _ —— _ _—

 

Ivey, M.E. and Bardwick, J.M. Patterns of affective fluctuation in the menstrual
cycle. fiychosomatic Medicine, 1968, 30, 336-345.

 

Jacobs, M.A., Spilken, A.Z., Norman, M.M. and Anderson, L.S. Life stress
and respiratory illness. Psychosomatic Medicine, I970, 32, 233-242.

 

Janowsky, D.S., Gorney, R. and Kelley, B. The curse - vicissitudes and variations
of the female fertility cycle. Part I. P_sychosomatics, 1966a, 7, 242-247.

 

Joe/shy, D. S. , G

of the lemale IE

Lying, S.C. 0110 C
Medical Associ

4.15I,S.V. and Cd:
preliminary rep
'eIIejr, K., Danie
correlations wi

Il9-l47 .

‘Ssel, N. and Ca
IL” 1963,

II
(MIN Be, Lunde
memeasures
hieml '
to Drsea:

'Thll, IL The

trierl I‘VIS‘ onc
rahEEItor. P5

~

If'e-‘br

S.J., Ph
076 changes

:h, Irh‘. M. , U

IE’Sion-
, - EEr

: Svch'
w.

V .
~’ “Ti-
‘1

“e: C.H.

”Paws.

117

Janowsky, D.S., Gorney, R. and Kelley, B. The curse - vicissitudes and variations
of the female fertility cycle. Part II. Psychosomatics, I966b, 7, 283-287.

 

Karlan, S.C. and Cohen, C. Hypoglycemic fatigue. Journal o_f the American
Medical Association, 1946, I30, 553-555.

 

 

 

Kasl, S.V. and Cobbs, S. Blood pressure changes in men undergoing iob loss: A
preliminary report. Eychosomatic Medicine, 1970, 32, 19-38.

 

Kelley, K., Daniels, G.E., Poe, J., Easser, R. and Monroe, R. Psychological
correlations with secondary amenorrhea. Psychosomatic Medicine, 1954, 16,

129-147.

 

Kessel, N. and Coppen, A. The prevalence of common menstrual symptoms.
Lancet, 1963, 2, 61-64.

 

Kopell, B., Lunde, D., Clayton, R., Moos, R. and Hamburg, D. Variations in
some measures of arousal during the menstrual cycle. Journal 9_f_ Nervous 5112

Mental Disease, 1969, 148, 180-187.

 

 

Kramp, J.L. The premenstrual syndrome. Lancet, 1965, 2, 436.

 

Kroger, W.S. and Peacock, J.F. Psychophysiological effects with an ovulation
inhibitor. Psychosomatics, 1968, 9, 67-70.

 

Kutner, S.J., Phillips, N.R. and H009, E.J. Oral contraceptives, personality,
and changes in depression. Contraception, 1971, 4, 327-336.

 

Lamb, W.M., Ulett, G.A., Masters, W.H. and Robinson, D.W. Premenstrual
tension: EEG, hormonal and psychiatric evaluation. American Journal 21:

PsychiatEy, I953, 109, 840-848.

 

Lawrence, C.H. and Werthessen, N.T. Treatment of acne with orally administered
estrogens. Journal o_f Clinical Endocrinology, 1942, 2, 636-638.

 

 

Lederer, W. The fear of women. New York: Grune and Stratton, I968.

 

Levitt, E.E. and Lubin, B. Some personality factors associated with menstrual

complaints and menstrual attitudes. Journal of Psychosomatic Research, 1967,
11, 267-270. '—

 

Levitt, E.E., Kooiker, J.E. and Norton, J.A. Depression and oral contraception.
Current Topics inClinical and Community Psychology, 1970, 2, 157-182.

 

 

Lewis, A. and Houghughi, M. An evaluation of depression as a side effect of oral
contraceptives. British Journal o_f Psychiatry, 1969, 115, 697-701.

 

“Liz. II'II' Emoti
Sheri ily. I96

 

.1390) D' M. “II

oi Genetic P:

 

JJQII D‘M' A

Comoarative

‘a‘zclinmn, P -C

h‘eaical JOU

‘—l

Inchinnon, I. I.
lineal phase
IOI7.

el‘, 9. On t
Ir M. Reiss
‘nsa.

IIZ’r’JIelI, A. CI

9 I
ADQIICOD .I

11.53, I"). H
and Co . ,

is;
.gney, F ,
zipfitient
.970, 32,
11?”.

"II-39h K
”7 women

“’5'an T.J.t

118

Lidz, R.W. Emotional factors in the success of contraception. FertiliDI and
Sterility, I969, 20, 761-771.

 

Lough, D.M. The effect of functional periodicity on the learning process. Journal
_o_f Genetic Psycholog , 1937a, 50, 307-322.

 

Lough, D.M. A psychological study of functional periodicity. Journal o_f
Comparative Psychology, I937b, 24, 359-368.

 

MacKinnon, P.C.B. and MacKinnon, I.L. Hazards of the menstrual cycle. British
Medical Journal, 1956, 1, 555.

 

 

 

MacKinnon, I.L., MacKinnon, P.C.B. and Thompson, A.D. Lethal hazards of the
Iuteal phase of the menstrual cycle. British Medical Journal, 1959, 1, 1015-
10I7.

 

Mall, G. On the hormonal treatment of pre- and post-menstrual ovarian psychoses.

In M. Reiss (Ed.), Psychoendocrinology. New York: Grune and Stratton,
I958.

 

Mandell, A. and Mandell, M. Suicide and the menstrual cycle. Journal githe
American Medical Association, 1967, 200, 792-793. _—

 

 

Masters, W.H. and Johnson, V.E. Human sexual response. Boston: Little, Brown
and Co., 1966.

 

McKegney, F.P., Gordon, R.O. and Levine, S.M. A psychosomatic comparison

of patients with ulcerative colitis and Crohn's disease. Psychosomatic Medicine,
1970, 32, 153-166.

 

Menninger, K. Somatic correlations with the unconscious repudiation of femininity
in women. Journal o_f Nervous and Mental Disease, 1939, 89, 514-527.

 

 

 

Merrit, T.J.K. Menstruation and crime. British Medical Journal, 1962, 1, 260.

 

 

Merryman, W., Boiman, R., Barnes, L. and Rothchild, l. Progesterone "anesthesia"
in human subiects. Journal 9_f_CIinicaI Endocrinology, 1954, 14, 1567-1569.

 

Miller, M.H. and Gould, W.J. Fluctuating sensorineural hearing impairment
associated with the menstrual cycle. Journal o_f Auditory Research, 1967, 7,

373-385.

Money, J. Components of eroticism in man: The hormones in relation to sexual
morphology and sexual desire. In R.E. Whalen (Ed.), Hormones fibehavior.
Princeton, N.J.: Van Nostrand, 1967.

 

‘rh-IJ-C‘S, R,H, The C
Medicine, I9

has, R.H. Asses
HA. Salhani
3‘ garadol ho

Title. —

\‘xs, R.H. 1pr
and Gynecolr

I'm, R-l'lt, K0:
R.B. and Har

menstrual cy.

xenon, I. H. Pf

Werol
\‘W

”Show, J.H. I

fieenera
\

I‘J‘IMI J.H., I
CI Wical SIUI
Gm
%

I'Ir’l 5

1°”, J.H. Q
"I’C‘dicine
\I

”‘55. B J
IIII‘Ie'eingfi
I. ' e
\dSISillr

\

‘-.

III” A- an
I: '9I3*ed
1:

‘13‘455 .

its. H
’ L

O
I

4 ’-
11,1, e
'1IQI he

119

\ Moos, R.H. The development of a menstrual distress questionnaire. Psychosomatic

Medicine, 1968, 30,853-867.

 

Moos, R.H. Assessment of psychological concomitants of oral contraceptives. In
H.A. Salhanick, D.M. Kipnis, and R.L. Vande Wiele (Eds.), Metabolic effects

of gonadal hormones and contraceptive steroids. New York: Plenum Press,
T9590.

 

 

 

Moos, R.H. Typology of menstrual cycle symptoms. American Journal ojObstetrics
and Gynecology, 1969b, 103, 390-402.

 

 

Moos, R.H., KOpeII, B.S., Melges, F.T., Yalom, |.D., Lunde, D.T., Clayton,
R.B. and Hamburg, D.A. Fluctuations in symptoms and moods during the
menstrual cycle. Journal 3% Psychosomatic Research, 1969, 13, 37-44.

 

Morton, J .H. Premenstrual tension. American Journal of Obstetrics and

Gynecology, 1950, 60, 343-352.

 

 

 

Morton, J.H. Treatment of premenstrual tension. International Record 9_f_ Medicine
gniGeneral Practice Clinics, 1953, 166, 505-510.

 

Morton, J.H., Additon, H., Addison, R.G., Hunt, L. and Sullivan, J.J. A
clinical study of premenstrual tension. American Journal o_f Obstetrics and

Gynecology, I953, 65, 1182-1191.

 

 

 

Morton, J.H. and McGavack, T.H. The influence of ovarian activity and
administered estrogens upon diabetes mellitus: Case report. Annals 9i Internal

Medicine, 1946, 25, I54-I6I.

 

Murawski, B.J., Sapir, P.E., Shulman, N., Ryan, G.M. and Sturgis, S.H. An
investigation of mood states in women taking oral contraceptives. Fertility
and Sterility, 1968, 19, 50-63.

 

Nilsson, A. and Almgren, P.E. Psychiatric symptoms during the post-partum period
as related to use of oral contraceptives. British Medical Journal, 1968, 2,

453-455 .

 

Oleck, H.L. Legal aspects of premenstrual tension. International Record of

Medicine and General Practice Clinics, 1953, 166, Zfi-SOI. _

Paige, K.E. Effects of oral contraceptives on affective fluctuations associated with
the menstrual cycle. chhosomatic Medicine, 1971, 33, 515-537.

 

Paulson, M. Psychological concomitants of premenstrual tension. Unpublished
doctoral dissertation, University of Kansas, 1956.

255., H. The duratic

intington, V.M. Me
American Medical

 

Psychosomatic Mec
hiiias, I. and Smith,
New Yorlr: Grune

 

 

3"Erin Secundus, C. II

rat, 0. The crimin.
iress, I950.

tacit, I.l. The relat
scores and to menst

hit, 31 (9-A), 4.

“fix, S.A. Medical
lnencan Medical

Iris, S.A. and Zitmc

21, Ill. Correlated
“it and ment
0
I‘ll-BIB.

'AI

"1

, II6 Premens
Qt r9530,

{3' I

' PSICIlosornot
WScience
N

120

Pennington, V.M. Meprobamate (miltown) in premenstrual tension. Journal of the

American Medical Association, 1957, 164, 638-640. _—

 

 

 

Peskin, H. The duration of normal menses as a psychosomatic phenomenon.

Psychosomatic Medicine, 1968, 30, 378-389.

 

Phillips, L. and Smith, J.G. Rorschach interpretation: Advanced techni ue.
New York: Grune and Stratton, 1953.

 

Plinius Secundus, C. Pliny's natural history. London: Henry G. Bohn, 1855.

 

Pollak, O. lbscriminalitypiwomen. Philadelphia: University of Pennsylvania
Press, 1950.

Porach, L.B. The relationship of masculine and feminine identification to dream
scores and to menstrual cycle reactions. Dissertation Abstracts International,

1971, 31 (9-A), 4558.

 

 

Portis, S.A. Medical treatment of psychosomatic disturbances. Journal of the
American Medical Association, 1944, 126, 413-418. _—

 

 

Portis, S.A. and Zitman, I.H . A mechanism of fatigue in neuropsychiatric patients.
Journal of the American Medical Association, 1943, 121, 569-573.

 

 

Raab, W. Correlated cardiovascular adrenergic and adrenocortical responses to
sensory and mental annoyances in man. Psychosomatic Medicine, 1968, 30,

809-818.

 

Rees, L. The premenstrual tension syndrome and its treatment. British Medical
Journal, 19530, 1, 1014-1016.

 

Rees, L. Psychosomatic aspects of the pre-menstrual tension syndrome. Journal 2:
Mental Science, 1953b, 99, 62-73.

 

 

Rees, L. The premenstrual tension syndrome in relation to personality, neuroses,
certain psychosomatic disorders and psychotic states. In M. Reiss (Ed.),
Psychoendocrinolog. New York: Grune and Stratton, 1958.

 

Reimann, H.A. Habitual hypertherrnia: Premenstrual "fever". Journal of the
American Medical Association, 1946, 132, I44. _—

 

 

 

Rennie, T.A.C. and Howard, J.E. Hypoglycemia and tension-depression.
Pflchosomatic Medicine, 1942, 4, 273-282.

 

Ribeiro, A.L. Menstruation and crime. British Medical Journal, 1962, 1, 640.

 

 

.
- . ”J.J.—J

iéley, H.5. and
shdies in sch
Psychiatry, I

irli't, S. Preme

is, A.A. Men
17, 287-302

IJBILSIEIII, B.B.
Clinical End

5—

icesrern, H ,5,
craving with
1940. 97, 7

.:I II, A. and V,

Will worn

7.“:
.er, R, as,
“I Shaft;

ITIIFIII I, C0

IIIISSO PS‘

.31 .1

"""r F. Poi
VESIEI’FIC
\S.

En:
'r H. The
\

I”! S.H.
in.

I,
i

I G . H .
. «if, R. l.
I
3"
Ma
951:» I
r4 $03”:

111%, ,4

M
.335“ 1'

h
I

121

Ripley, H.S. and Papanicolaou, E.N. The menstrual cycle with vaginal smear
studies in schizophrenia, depression, and elation. American Journal o_f

ngchiat , 1942, 98, 567-573.

 

Rivlin, S. Premenstrual varicose veins. British Medical Journal, 1955, 2, 618.

 

Rose, A.A. Menstrual pain and personal adjustment. Journal o_f Personality, 1948,

17, 287-302.

 

Rubenstein, B.B. Premenstrual headache relieved by estrogen therapy. Journal o_f
Clinical Endocrinology, 1942, 2, 700-702.

 

Rubenstein, H.S., Shapiro, H.D. and Freeman, W. The treatment of morbid sex
craving with the aid of testosterone propionate. American Journal of Psychiatry,

1940, 97, 703-710.

 

 

Rubin, A. and Winston, J. The effects of menstruation upon vestibular function in
normal women. Journal ngviation Medicine, 1953, 24, 234-236.

 

 

Schafer, R. Pflichoanalytic interpretation Ln Rorschach testing. New York: Grune
and Stratton, 1954.

 

Schwab, J. Comprehensive medicine and the concurrence of physical and mental
illness. Psychosomatics, 1970, 11, 591-595.

 

Schuck, F. Pain and pain relief in essential dysmenorrhea. American Journal o_f

Obstetrics and Gynecology, 1951, 62, 559-567.

 

 

Selye, H. figstorygfthe adaptation syndrome. Montreal: Acta, Inc., 1952.

 

Seward, G.H. The female sex rhythm. Psychological Bulletin, 1934, 31, 153-
192.

 

Seward, G.H. Psychological effects of the menstrual cycle on women workers.
Psychological Bulletin, 1944, 41, 90-102.

Shader, R.I., DiMascio, A. and Harmatz, J. Characterological anxiety levels
and premenstrual libido changes. Psychosomatics, 1968, 9, 197-198.

 

Sherfey, M.J. The nature and evolution of female sexuality in relation to

psychoanalytic theory. Journal o_f the American Psychoanalytic Association,
1966, 14, 28-128.

 

 

Sherfey, M.J. The nature 93 evolution o_f female sexuality. New York: Random
House, 19727"

 

1:1: #14

iIh-ergeld, 5., Brast,
strdy oi symptom
and placebo. E

Erith, MA. Menstr
reeds, and scho

Abstracts lnternc

*—

i’egli'tz, I.l. and I
Ii Medical Sci

enphasis on the
General Practic

ifierland, H. and
ling, I965,

Iifijel/ I.5. Me
334,103, 23

I373, W .A . G e

'31 ?he America
‘\

.IITI,G.\V.I Ne}

associated w‘, ,1

122

Silbergeld, S., Brast, N. and Noble, E.P. The menstrual cycle: A double-blind
study of symptoms, mood and behavior, and biochemical variables using enovid
and placebo. Psychosomatic Medicine, 1971, 33, 411-428.

 

Smith, M.A. Menstrual disorders: Incidence and relationship to attitudes, manifest

needs, and scholastic achievement in college freshman women. Dissertation
Abstracts International, 1971, 31 (13-A), 6354.

 

 

Stieglitz, E.J. and Kimble, S.T. Premenstrual intoxication. American Journal o_f

thiMedical Sciences, 1949, 218, 616-623.

 

 

Suarez-Murias, E. L. The psychophysiologic syndrome of premenstrual tension with
emphasis on the psychiatric aspect. International Record fl Medicine and
General Practice Clinics, 1953, 166, 475-486.

 

 

 

Sutherland, H. and Stewart, I. A critical analysis of the premenstrual syndrome.
Lancet, 1965, 1, 1180-1183.

 

Sweeney, J.S. Menstrual edema. Journal of the American Medical Association,

1934, 103, 234-236.

 

 

 

Thomas, W.A. Generalized edema occurring only at the menstrual period. Journal
gfflngmerican Medical Association, 1933, 101, 1126-1127.

 

 

 

Thorn, G.W., Nelson, K.R. and Thorn, D.W. A study of the mechanism of edema
associated with menstruation. Endocrinology, 1938, 22, 155-163.

 

Tomkins, S.S. Lh_e. thematic apperception 1931. New York: Grune and Stratton,

1947 O

 

Tonks, C.M., Rack, P.H. and Rose, M.J. Attempted suicide and the menstrual
cycle. Journal o_fPsychosomatic Research, 1968, 11, 319-323.

 

Weinstein, L., Aycock, W.L. and Feemster, R.F. The relation of sex, pregnancy
and menstruation to susceptibility in poliomyelitis. New England Journal _o_f_

Medicine, 1951, 245, 54-58.

 

 

Wessman, A.E. and Ricks, D.F. Mood and personality. New York: Holt, Rinehart
and Winston, 1966.

 

Whitehead, R.E. Notes from the Department of Commerce: Women pilots.
Journal ofAviation Medicine, 1934, 5, 47-49.

 

Wickham, M. The effects of the menstrual cycle on test performance. British
Journal o_fPsychology, 1958, 49, 34-41.

 

L-

'l'illams, E.Y. and W
episodes; prellmln

116, 321-329.

t‘ftkawer, E. 01rd Wl
Brltlsll Medical J:
:‘agler, H., Rodger
s‘aaaressars, psycl
American Medica

:a,‘ll.W.K. A 58
l9c'5a, 12, 63-7l

2..., ‘ll.\‘l.K., Rict

an outpatient cli'

L121 W'VJIKO FOCl
PN‘A '
a. cral Psychlol

123

Williams, E.Y. and Weekes, L.R. Premenstrual tension associated with psychotic
episodes; preliminary report. Journal o_f Nervous and Mental Disease, 1952,

‘16, 321-3290

Wittkower, E. and Wilson, A.T.M. Dysmenorrhoea and sterility personality studies.
British Medical Journal, 1940, 2, 586-590.

 

Ziegler, E.J., Rodgers, D.A., Kriegsman, S.A. and Martin, P.L. Ovulation
suppressors, psychological functioning and marital adjustment. Journal of the

American Medical Association, 1968, 204, 849-853.

 

Zung, W.W.K. A self-rating depression scale. Archives o_f General Psychiatry,
19650, 12, 63-70.

Zung, W.W.K., Richards, C.B. and Short, M.J. Self-rating depression scale in
an outpatient clinic. Archives o_f_ General Psychiatry, 1965b, 13, 508-515.

Zung, W.W.K. Factors influencing the self-rating depression scale. Archives o_f
General Psychiatry, 1967, 16, 543-547.

APPENDICES

APPENDIX 1

- 0-.-"IV“I r~a

.1”

‘26?

Student #

 

Menstrual Cycle
Supplementary Information

Date of birth / /
Mo. day year

 

Number of pregnancies

 

Number of deliveries

 

Age at first menstrual period yrs. mos.

 

Have you ever seen a doctor for "female troubles, " or menstrual or premenstrual symptoms?

Yes No
If so, when?
Type of Problem:
Type of Treatment:
Length of Treatment:

 

 

Would you say your menstrual periods are regular? Yes No

 

If yes, what is your average cycle length, in days? days

 

If no, in what way are your periods irregular?

What is the usual number of days of menstrual flow for you? days

Are you presently taking any medications on a regular basis?

 

 

 

 

1) Birth control pills Yes___ No
brand - I I
dosage
2) Thyroid medication Yes No
type '

 

3) Other hormones (specify) Yes . g No

 

 

4) Other medication Yes No
type

 

H°w many visits have you made to a physician in the past year?

 

what do you think is the cause(s) of menstrual and/or premenstrual symptoms?

Whenyou were younger, and had first heard of menstrual or premenstrual difficulties, how
d'dYOU believe (or guess) they were caused?

125

-1!

' "_v'_

.fisy's Dale

 

In": llle GPPIOXImO

'tle I'léXl 1W0 PO

ascribe yOUr ‘

wads llSl’ed l

Cal. I lit”
{all dUT

Cal. 3

1.1
‘5l '

e. The or
experience 5

szaaly reporl

se symptor

tycle.

‘bfll 911 f n

Menstrual Distress Questionnaire

 

 

 

 

FormA
Name ' Marital Status
Age 1 r l i I Number of children
Today’s Date 4 I 3 Occupation ' l U

 

 

Write the approximate dates of your most recent menstrual period (flow) in the space marked
"A" below. Then write the dates of the menstrual period which preceded the most

recent one in the space marked "Dz.

 

 

 

from other times during week before most most recent flow
, to _ . most recent cycle . ~ recent flow _ , from.
to
D C B A

On the next two pages is a list of symptoms which women sometimes experience. Please
describe your experience of each of these symptoms during the three different time
periods listed below:

Col. 1 during your most recent menstrual flow (the dates delineated by area A
on the diagram above)

 

Col. 2 during the one week before your most recent menstrual flow
(area B on the diagram),

 

Col. 3 during the remainder of your most recent menstrual cycle (area C).

 

Note: The answers you put in columns 1, 2, and 3 should be accurate for your

 

experience specifically during your most recent menstrual cycle. Please do not
simply report your general experience. Also, please report a_ny experience of
these symptoms whether or not they seem to you to be related to your menstrual

cycle.

126
Copyright: Rudolf H. Moos, 1968

is each answer choose
a? lltJl symptom dl
provided. Even i‘
best describes you

 

iszriative Categories

1 - no experience
Z-barely notice
3- present, milc

\
' llelal‘iguin...
4- Mamie...“
titan”...
. [0148er 5Cl100
i- Muclestiffne:
”QEIlulness
Omicm

‘
,-
’h .

all?“ 11005 or E
Milking. . .
jaill ’l disOldefi
:ylEl Hess ‘
“Hogs 01 5‘
l‘ec‘llongfe
“Vial‘mess
l0 llbme fr
:t‘m “Sum“ luter
.‘Pllllnas Or
"Exciteme I’ll
‘ “hllfi'sl pains
“ .A Old SOClQ
7: :ixiefyu
: E351 “ache

~. «daweofs

127

For each answer choose the descriptive category listed which best describes your experience
of that symptom during that time. Write the number of that description in the space
provided. Even if none of the descriptions are exactly correct, choose the one that
best describes your experience. Do not leave any blank spaces.

Descriptive Categories

 

1 - no experience of symptoms 4 - present, moderate

2 - barely noticeable 5 - present, strong

3 - present, mild 6 - acute or partially disabling

1. 2. 3.
most week remainder
recent before of cycle
flow
(A) (B) (C)

1. Weight gain. . . ..... . ..................
2. Insomnia .............................. """'— _—
3. Crying ....... . ....... . ................ — _—
4. Lowered school or work performance ...... __ ‘—
5. Muscle stiffness ........................ _— _—
6 . Forgetfulness. . . ....................... — '—
7. Confusion. . .......................... _ _—
8. Take naps or stay in bed ................
9. Headache ......... . ................... _—
10. Skin disorders. . . . . ..................... "'—
11. Loneliness ............................. _-
12. Feelings of suffocation .................. _-
13. Affectionate .......... . ................ _—
14. Orderliness ............................ _'
15. Stay home from work or school ........... “‘—
16. Cramps (uterine or pelvic) ............... "'—
17. Dizziness or faintness ................... _—
18. Excitement ............................ _""
19. Chest pains ............................ ——"
20. Avoid social activities .................. "_-
21. Anxiety ............................... _—
22. Backache .............................. ‘—
23. Cold sweats ............................ ‘—'—'

4 A:
I “ T."
.. N a ‘6 ‘ W ‘5 C \\:. \
a . \ j c
3 \ \
‘~ ‘\\r~ ' ‘4'. ‘
§ -‘ 1' fl ‘ ‘k x
\ u‘. ‘ e .‘
‘ I z \
. ’ ‘ “““ s \\ \ O
a . -‘ n 2’ ' ,
\ ‘ \ 3 1‘ ) ‘
‘ ‘ \ 3 ‘\\\
K
\
\ I
\ ' m
‘
.“\'T\‘\o'}" y :3 loyg‘l . .s
_"r \ :-
-ae"-3‘ “3“:3‘~-
‘ f \~. g x _ _ \ I A
. - ~ - . _‘ ‘ Lap-'— - ‘3. | 1 I ‘
T ; :1‘5: ’ V .- -4 il‘ hwef 1U gm
- as - , ~.- .r. _ r f; :n
‘I V .” f 1 ‘F - L’J. lOTIQUeOCOIII
_ \" - _ m
‘ ‘ h T T k
‘ 1.. Noisea or vorr.
( 1

(TI

. lstlessness. . .
. Hatllashes. ..
. liliiculty in c
painful or ten.
. Feelings of w.
. lazing or rir
, _ . . A .l w Distractahle.

, «a; 5:5 {.:2:

‘3

15.3

...... 't'. Swelling leg
33. Accidents ((3
l i. lrtilaltlllty. ,

- 7 T

. General och

. A, ‘- . 'M30dSWlngs
1' l — i ii 'Hmpound
H ~' 9079551in
. 1" eClNSede

1
. .owered mo

I
2:-..

”‘e

\
I.
‘

.53

l
.‘ - un‘onesg c
s » 1." ' ”96 in l
r i .4. xen310n. .

- if, 5!." i

- - n tild 3.0013

' ' I lSlS 0f e'

.. . 3 ln' ”ital WC

, \

 

24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.

37.
38.
39.
40.
41.
42.
43.
. Change in eating habits ................
45.

. Blind spots or fuzzy vision ..............
47.

128

1.

most
recent
. - -~ flow (A)
Lowered iudgment .....................
Fatigue ...................... . ........
Nausea or vomiting ...................
Restlessness ...........................
Hot flashes. ...................
Difficulty in concentration... ..... 4. . . ,
Painful or tender breasts ................
Feelings of well-being .................. _
Buzzing or ringing in ears ....... _. .. ..... _
Distractable .......................... _-
SweIling (e.g. abdomen, breasts, ankles).
Accidents (e.g.cut finger, break dish).-.
lrritability ..... . .................. -. .,.. 7+—
General aches and pains ...............
Mood swings .........................
Heart pounding . . . . ............. ._ ......
Depression (feeling sad or blue) ..... .. . . .
Decreased efficiency ....... . ..........
Lowered motor coordination ............
Numbness or tingling in hands or feet. . . .

Tension .............................. .

Bursts of energy or activity ..............

2.

week
before

(3)

 

In what ways, if any, was your most recent menstrual cycle unusual?

3.

remainder
of cycle

(C)

THE 1

-_—-I_

, lieel a’ormhearte
I Morning is when
lhave crying SP‘
'Tle it
:, Ila-re trouble sl
3 lest as much as
:. lstill enioy sex
'. Inotice that l c
3. there trouble \
metipction
I ll) heart beats
I get tired tor

.. | . _
rilymrnd rs as
tale

.. lill‘rC' ll eosY

l .
”Ml to

.5 ‘
an restless

still

'1 r »
lfeel hope?

"’1’” more in

I
"7'

mg ll eQS'x

THE SELF-RATING DEPRESSION SCALE

 

 

None or a little
of the time

Some of Good part of
the time the time

Most or all
of the time

 

I feel downhearted and blue

. Morning is when I feel the best

3. l have crying spells or feel

afloat;

12.

13.

14.
15.
16.
17.

18.
19.

20.

like it

I have trouble sleeping at night
I eat as much as I used to

I still enioy sex

I notice that I am losing weight

I have trouble with
constipation

. My heart beats faster than usual
10.

11.

I get tired for no reason

My mind is as clear as it used
to be

I find it easy to do the things
I used to

I am restless and can't keep
still

I feel hopeful about the future
I am more irritable than usual;
I find it easy to make decisions

I feel that I am useful and
needed

My life is pretty full

I feel that others would be
better off if I were dead

I still enjoy the things I used
to do

K

 

129

 

 

 

r—pf *wea-Ir'w

(0.111». .".‘."

I
\
l
\
I
r f; ‘1" ‘ll \
.‘l [A
I
I
I r. ‘1': I: H‘

has of Person Being

tee of Person A nswe

3elationshia:

——_

The person no
ellenaugh to accun
as, ll you WISII. b”
seatingan the dfl'

Please do not
erreoarrses with I
i't‘xh needed and

When you hc

H.,—,mr-vrrl

Tim-l YOU .

BEHAVIOR QUESTIONNAIRE

 

Name of Person Being Rated:

 

Name of Person Answering Questionnaire:

 

Relationship:

Date:

 

The person named above has given your name as someone who knows her
well enough to accurately observe her behavior. Look over the questionnaire
now, if you wish, but please do not fill it out until you have seen the person you
are rating_o_n th__e d.a_.te M o_bgg.

Please do not show this questionnaire to the person you rated, nor discuss
your responses with her until the completion of the research. Your cooperation
is much needed and greatly appreciated.

When you have completed both pages of the questionnaire, please place

in the enclosed stamped, addressed envelope and mail to:

Elizabeth A . Seagull
Department of Human Development
B 240 Life Sciences I

Michigan State University
East Lansing, Michigan 48823

Thank you very much for your help.

130

irisw are some desc
see. For each behavi

efrapearance oi the
refs rate these beho

arrapear in the pers

1.3.1:

reed school or work
'Fgellrlress

mass or stays in b

"”50 IIItitldache
’ 'I’Sa’ders

_« rate

:34")

”he lrom WOI‘k <
filirnsof Cromps (
. radium faint
3‘3

.3 . .
, sMl acrrvirte
tr.

“Til-IS of bUCIm CI’I

e4;
'lwflulnegs

”LIT-i0 Inye IOWe‘

I“

25!!

‘h

.‘QILOh

0'9 diffic
r3; ‘tr-si‘s Oimlnlulu

""eelln
‘Whle 93 otw

He ‘ a,

I31

Below are some descriptions of behaviors you may have an opportunity
to observe. For each behavior, please choose the number which bests fits the
degree of appearance of the behavior in the person you are rating Edgy. Please
remember to rate these behaviors as you have observed them 9921' not as they

generally appear in the person you are rating.

Present,

5 ‘3

>. 'E +9

.. '5 “ Sc
2 a ti s8
m m 0.42

Crying
Lowered school or work performance
forgertfulness
Takes naps or stays in bed
Complains of headache
Skin disorders
Affectionate
Orderly
9. Stays home from work or school
IO. Complains of cramps (uterine or pelvic)
11. Appears dizzy or faint
12. Excited
I3. Avoids social activities
14. Anxious
l5. Complains of backache
16. Increased fearfulness
l7. Appears to have lowered iudgment
18. Restless
19. Appears to have difficulty in concentration
20. Complains of painful or tender breasts
21. Exhibits feelings of well-being
22. Distractable
23. Has accidents (e.g. ,cut finger, break dish)
24. Irritable
25. Complains of general aches and pains
26. Appears to have mood swings
27 . Depression (feeling sad or blue)
28. Decreased efficiency
29. Lowered motor coordination
30- Change in eating habits
31. Tense
32. Bursts of energy or activity
33. Uncommunicative
34. Bitchy

35. Hard to get a long with

PONP‘SJ‘Pfs’P’r‘
NNNNNNN MNMNNNNNNMMNMNNNNNNNMMNNNMNto Noticed

cowwwwwwwwcowwwwwwwwwwwwwwwwwwwwwwwwas Mild

h-A-b->->-§->####-§#-§#JX##JX#######¥####~A#48

Present,

O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~Very5frong

Strong

UIUIUIUIUILDUIUIUIUIMUIUIUILNCDMUUIUIUIUIWU'IU'IUIU'IU'IU‘IU’IU'IUIU'IU‘IU'I

E'F", _ 1' _".'.- -_:

lecears Irratior

h‘y 'Incharact
ease describ

36.
37.
38.
39.

41.
42.

132

Appears Irrational

Flighty

Unpunctual

Change in aggression(increase) (decrease)
Easily upset

Happy

Any uncharacteristic behavior

(please describe in the space below)

Observed
Barely
Noticed
Present,
Mild
Present,
Moderate
Present,
Strong
Present,
Very Strong

Not

NNNNNNN
wwwwwww
Arse-Asses:-
010101010. 0101
o~o~o~o~o~o~o~

APPENDIX II

I‘ached are materir
for should lind tl
sell me collect a

had upon your all

71's I: \
IX II: I
Isl; Ill:

3i IV:

'11. V:

l XIIII I.l‘l‘IA

tie!
‘eel Ire

I; ”e to un

INSTRUCTIONS FOR CLINICAL RATERS

Attached are materials which should aid your understanding of the transcribed protocols.
If you should find that anything is still unclear, in spite of these aids, please feel free
to call me collect at 353-4340.
Based upon your clinical interpretation of the Rorschach and TAT protocols:
Task 1: Write a short but complete personality profile of each subject.
Task ll: Compare or contrast the functioning of each woman with herself
at the two different times of testing.
Task III: For each 5, choose the protocols which represent her better
overall functioning.
Task IV: Rank order the £5. according to the overall test-retest similarity
of their personality picture as represented by their test protocols.
Task V: Rank order the paired Rorschach-TAT protocols for a given S on
a given day, on the following global dimensions, using your own
best idea of the common clinical meanings of these terms as your
guide to definition:
"N euroti cism "
"Conflict over feminity"
"Hypochondriasis"
"Hysteria"
"Maturity"
"Depression "
"Ability to use personality resources "
Please feel free to add other dimensions if you find they are
relevant to understanding and comparing these women.
Please feel free to add any comments, suggestions or explanations of any kind that may

help me to understand what the protocols tell you about the subjects.

134

rm

L‘;T_ :'

 

1‘ Isuhjects we
3.: l3. They wr
:lane contact wi
feicled up su'ojr
tying was done
mir. the car a

I

:‘r; l'tIOlmOIIIY I

SUBJECTS
All 8 subjects were female undergraduate college students between the ages of 19
and 23. They were paid $5.00 for each of two testing sessions. All testing and
phone contact with subjects was carried out by the same examiner. In most cases,
E picked up subjects in her car, drove them to her office on campus where the
testing was done, and then drove them back. This gave them an opportunity to
chat in the car and seemed to help subjects relax, as it lent an air of friendliness
and informality to the contact.
Subjects were told that the purpose of the study would be explained to them after
all testing was finished.
Each subject has a code number and the date of her testing session at the top of

each protocol. This will enable you to identify which protocols belong together.

135

inhach:

The subjec
maletely, we
set. These are i
sass—ed her voice
seeding micropl

Examiner
‘ecantext and r
:toie'e determ

Examoler

\

Loo

KEY TO TRANSCRIPTION

Rors chach:

The subjects' verbalizations during free association and inquiry are recorded
completely, except for a few words here and there which were unintelligible on the
tape. These are indicated in the transcription. This usually occurred because the S
dropped her voice, was laughing, or noises from the hall were amplified by the
recording microphone.

Examiner's questions are indicated by (EQ). These are usually obvious from
the context and serve to establish first, the location of the percept, and then, the

complete determinants of it.

Examples:
Location -- Can you show me where that is?
- Trace the outline with your finger.
- Where did you see the I ?
Determinants -- What made it look like a ?
- What about it most reminded you of that?
- Was there anything else besides the
that made it look like that?
- Was there anything else about it that made it
seem like a ?
Key adjectives used by S to describe her percept were followed up, e.g. , What
made it look slimy (fluffy, hard)?
In cases where the examiner's question is not obvious from the context, a fuller
Key, e.g., (EQ - frog, location) may be used, or, if this is not enough to make the
comment or question clear, it is written out in full, in parentheses.
Numerous times throughout the inquiry, E indicates that she is following S's
explanation by such remarks as, "ch", "uh huh", "yes, I see", "mm hm", etc.

These are not recorded.

136

I. -_—--—f—

Man
seer is attached.
stealanation at th
502‘ MI) and
creatively, from t

Card Positio

 

vzr the card is orie
Between the
seiner we would I

finandso that l c

 

.5
see

tree to tell r

irrrersat'ans are n:

,1;

These PIOIO
rehestariei lWI
Err-Isles of comme

As card 20

Instructions
sewere read ve
.45. using a sto
Iiezrihing a pic
=.sc'iation, tl
, Imctuotio

03w

137

Locations are coded according to Beck's system. A copy of the key to that
system is attached. Where locations did not conform to any of Beck's numbered areas,
an explanation of the location is given to the best of my ability. Combinations such

as (DZ + Dd23) and (D2-Dd23) mean that the second area is added or subtracted,

 

respectively, from the first, to create the location 5 indicates.

Card Position -- is indicated in the standard manner, with A being the
way the card is oriented when it is presented.

Between the free association and inquiry portions of the Rorschach, all S's were
told that we would go back over the cards so she could show me where she saw what she
saw, and so that I could ask her some questions about what she saw. She was also told
to feel free to tell me if she saw anything additional that she did not see before. These

conversations are not recorded in the transcription.

T211:-

These protocols are transcribed verbatim except for reinforcing comments by E
after the stories (with the exception of one protocol, where they are recorded).
Examples of comments are: "Good, fine '." "That was an interesting story", "Very good".

As card 20 was presented to each S, E said, "This is the last one".

Instructions used for both Rorschach and TAT are given on an attached sheet.
These were read verbatim to each 5 . If S's glanced at the stopwatch, they were told,
"I'll be using a stopwatch, but this is not a timed test. " Some S's told a story as well
as describing a picture after the first set of instructions for card l6. If they stopped with
the description, the second instruction was added.

Punctuation -- For both Rorschach and TAT transcriptions, punctuation was used
to indicate, as closely as possible, the subject's inflection.

voice trails off

- short'pause
-- 3 to 4 second pause
(Pause) 5 to 9 second pause

Pauses 10" or longer are timed and given

in the transcription as, e.g. , (Pause, 34").

=- 4 -“.—w "

ioszlmli

u”
I:

i ' Part n

on
tel
re;

SUI

Rorschach

TAT

TAT - Part II

#16

INSTRUCTIONS

You will be given a series of ten cards, one by one. The cards have
on them designs made up out of ink blots. Look at each card, and
tell me what you see on each card, or anything that might be
represented there. Look at each card as long as you like; only be
sure to tell me everything that you see on the card as you look at it.
When you have finished with a card, give it to me as a sign that you

are through with it.

This is a test of imagination, one form of intelligence. I am going to
show you some pictures, one at a time; and your task will be to make
up as dramatic a story as you can for each. Tell what has led up to
the event shown in the picture, describe what is happening at the
moment, what the characters are feeling and thinking; and then give
the outcome. Speak your thoughts as they come to your mind.

Do you understand?

For the next cards, you can give even freer range to your imagination.
These first stories have dealt more with everyday reality. Now I
would like to see what you can do when you disregard the commonplace

realities and let your imagination have its way, as in a dream or a

fairy tale.
See what you can see on this blank card. Imagine some picture there

and describe it to me in detail.

Now tell me a story about it.

138

L_._.. . ~_~__-— —;;i

Looks like
notes.l N
oregettin
they're --
l‘loice dr<
ll: "look
{flaps kg,
and bursts
lmow thos
looks liku
mmels‘ I
l‘lm- Lo:
That's. ..

TOllll tin

A6"

RORSCHACH, SUBJECT A, PREMENSTRUUM

Card I
Looks like two people. (hums two
notes.) Mm-look like bats. Bats
are gettin' to me, you know like
they're --Hm. Looks like a bird.
(Voice drops on the word "bird")
(E: "looks like what?") A bird .'
(Flaps hands in gesture of flying,

 

and bursts out laughing.) You
know those things - dingbats.
Looks like - here it looks like two
camels' humps. Camels.

Mm. Looks like a w - a worm.

That's .......

Total time: 53"

I39

(EQ) Bat. (EQ) Just the thing - bat -
you know, like they hang onto those
things like that with their hands? (EQ)
The whole thing is a bat. (EQ) Cause
I saw bots, you know, in a - in the a -
like in a - zoo, and they looked iust
like that, you know, when they're
hanging up their feath - you know,
like their - things out - they looked
iust like that. You know - hanging

up there. (EQ) The way it's iust -
the way the ink blot iust went - iust
like that (indicating outline). (EQ)
These things here - humps, you know
(Dd22 and DI). Them. And then. . .
(EQ - what else you saw) . These
remind me of - birds (upper part of D2) .
(EQ) Because it has the head, and it
has the little, you know, things going
out like that (D8) . (EQ - location

of head) . It's right here (D5) .

(EQ) At first, the wings (D8). (EQ)
No. (EQ - what else you saw) No.
At the time I saw it, I saw it, you
know. . .(Iaughs) things iust disappear
in your mind. I don't know, I can't
remember. (E: "Well, you mentioned

- the first thing you mentioned was

two people. ") Yeah they're (word

I40

too soft to hear.) Over here talking
where the gaps are. (EQ) Yeah, these
little things, you know, like the mouth
is open - people are iust - you know,
talking. (DI) (EQ) Yeah (Dd on D]
is mouth). (EQ) Yeah, iust like a
person or an animal - iust. . .(EQ) Just
part of the person. (laughs) (mumbles
something while laughing.) (EQ) I
really don't know, it's iust this - thing
- ah, people talking, you iust hear
their mouths going, and you don't hear
anything else (laughs) - see anything
at all - iust complete (words slurred).
(EQ - you also mentioned camels.)
Oh, yeah, the humps. (Dd22) You
know, camel - humps. (EQ) No.

(EQ - one camel or two camels?) It's
one. Two - humped camel. (EQ - you
mentioned worms.) Oh, yeah, this
little thing here, you know (midline).
(EQ) Yeah, (words slurred). Biology
is coming in again (laughs). When I
was in biology I used to (sew?saw?)
this thing down the back, you know,
and it got into my mind that it's a
worm. And this thing here, you know,
at the bottom (Dd3l) . We had to
dissect it, you know, and it was a
certain worm. I can't remember the

name of it.(E:"l did remember that,

cause I think I took one of those
courses, too.")

Ch.

looks like two
animals, playi
On the top of
Probably a do
cat (softly, tc
locks like tw
hafiom, , .50.-
lm, two at
|:mutnlrles to l
ltan card suc
My.) Oh,
horses, | dor

that's it. ch

A 7"

I4]

Card Il
Oh.
Looks like two people, you know, like
animals, playing with each other?
On the top of that (said to herself).
Probably a dog. (laughs) Dog or
cat (softly, to herself.) Mm.
Looks like two butterflies at the
bottom. . .Somebody swimming, you
know, two people swimming?
(mumbles to herself.) (Starts back
from card suddenly, holding it
away.) Oh, it also reminds me of
horses, I don't know why. I guess

that's it. (Laughs)

Total time: 55"

(EQ) I saw like an animal. You know,
like there - with the little cat goes

up on its hind legs? A dog? I think

it was one of 'em GoftIy .) (EQ — trace
the outline with your finger?) (S hums
as does so.) (D2) There's the tail
(Dd26) there and there. There's his
paw going up (Dd of D2 protruding
toward midline) might be a little foot,
the other one. There's two of 'em.
(EQ) Mm hm. (EQ) (S, interrupting)
Oh, gosh, I see an elephant .' (laughs)
This black part (DI) reminds me of an
elephant. Ya - you see more as you
get along. (EQ - determinants of
animals.) I don't know 'cause the
paws. Like, uh, when I see a dog, '0
see the paws go up like that. (EQ)

The other paw here, you know, and
up? They were (words slurred and

run together) reminds me of a animal.
(E: "Then you also - mentioned -

that it looks like two people, and

you said also, like animals, and -

was that that same area there that you
were referring to?") This was the -
this was right here. And then they
look like an elephant now. And here,
it looks like a butterfly, you know,
like a. . .(E: "OK, well iust sticking

with the people for a minute, can

I42

you tell me about - now, that's that -
trace the outline of that - with your
finger so I'll know exactly where you
mean. ") (S hums as she does so) (DI).
(EQ) I think - when I first - got a
glimpse of them it looked like people,
looked like they were - holding each
other or something, and then - now it
looks like an elephant, because it
looks like this is the trunk (D4 and
portion connecting to main part of DI),
and it goes up in . (E:"When you saw
it as people, were they the whole
person, or part of a person?") Just the
head 'n. (EQ - determinants.) I
really don't know. Hm. Looks like
ears over here (Dd3I). You look at it
more and more, you get (words slurred)
(Laughs) (Says something to herself
about being confused.) (E: "Now,the
butterfly that you just mentioned. .:. ")
Yeah, it looks like a butterfly (D3),
looks something like - that flew,
'cause it looks - kind of (gestures

to show the shape of the wings) you
know, like things. . .(EQ) No. (E:
"And then you also mentioned one
other thing, do you remember what
that was? - A couple of others'.)

(5 shakes head no.) (E: "Ah, a dog

. . . ") Oh yeah, that was a dog (D2)
(E: "Oh, the same was that was

I43

either the dog or the cat, alright. And
two people swimming. ") Yeah, yeah,
(gestures upward along D4 and black
area just below it.) See, they're
going, these people were going
(gestures)going up. (EQ - explain
more.) You know where they meet
together, like these two things meet
at one point (where DI ioin at their
upper midline). They look like a -
fish, or two people you know, going
together and swimming up , you know,
'cause when two people swim together,
they look like they - it's one. (EQ -
location.)Yeah, that's right here, and
that's right there (shaded areas on
either side of midline at D4, extending
from Ds5 to the top of D4.) (E: "And
are you talking about - the way it
would look, like, if you were looking
down on the water?") Mm hm. (E:
"And would part of that be the waves
of the water, or is that iust the people?
I'm not clear on exactly what you
mean.") It's the people, I think, you
know, with this - kinda the water and
the waves going. (E: "Is that some-
thing that - you would be seeing it
from a great distance, or would it be
from close by?") Not from close by.

(E: "From far away? like up in an

airplane or something like that?")

><

/\ 4n

<

I44

Card III
Two people - chatting with each
other.
Looks like kind of an animal - I

ca n 't - remember what it is, but

it reminds me of a certain animal.

Lik e a parakeet .' Yeah, reminds
me of a parakeet! (Laughs)
Th is reminds me of - iust people

to 'k 7'19, er...That's it.

Tot-o] time: 42"

It would seem, yeah, like far away.
Be kinda' - fish - or (softly) (EQ -
determinants) I don't know, thing
goes like that, '5 like a fish (gestures).
(Mumbles) (E: "Kind of that, like
this - this furrow in there?") Yeah.
(Midline) (E: "Also said you reminded
- it reminded you of horses. ") These
things looked like horses, too. (D2)
The same - the same area here is the
dog, the horses, and, they all remind-
ed me of the same thing because they

all go up (gestures).

Oh, the good one. (EQ) These are the
two people (Dl). (EQ) Just the out-
line of the face, here. Although it
could be beaks, you know. (EQ)

Just the - it was basically the outline
of the face, you know. (EQ - what
else you saw). Looks like a bird,

(D2) some bird like a - p - parakeet,
or - something. (EQ) This long thing,
and plus the head. (EQ) No.

:l' Crab

l Mm.

l lhislaaks,y
flying...
Somebody's
upsidedowr
like-

l-OdKS likei
reminds me
these - the
YOUlmow,

lgestures)

pets?

lotal tam.

I45

Card IV
l3" Crab
Mm.

This looks, you know, something like

<><A>

flying. . .

>

Somebody's walking on their. . . like
upside down (laughs) you know,
like -
Looks like a pot - that's it - this
reminds me of a pot, you know like
those - those different kind of pols,
you know, like theystand like this
(gestures) you know, those Grecian

pois?

Total time: l'8"

(EQ) The uh, the urn, you know that
goes like this? (gestures) I don't know,
'cause it went like this (points to card),
you know, cause I saw a picture, once ,
of an urn, you know, 'n (E: "It would
be like handles on an urn?") Yeah,
yeah. (EQ - location) Well, it's not
the whole urn, it's iust part of it -

like this, you know, and like here (D4)
iust here. (E: "So you're not counting
the part in between?") No. (E: "You
are iust looking at those two. ") Right.
(EQ - what else you saw.) Mm-l
thought these were claws, you know,
like, these are like things, claws,
(mumbled) see (gestures to imitate shape
of D4). (E: "Any particular - kind of
claws?") Like a crab. I don't like
crabs (laughs). (EQ) I saw - an

indoor thing, you know, and I saw a
crab and I saw his arm, you know, and
I didn't like his arm (laughs). (EQ -
didn't mean whole crab, iust claws?)
Yeah, that's right. (EQ — what else
you saw.) No. (E: "You mentioned
something flying. . . ") This part (D6)
- look like wings. I don't know, I
always see this black thing, 'n I

always (laughs) - remind me of wings.
This part here. (EQ - iust the wings

or whole?) No. It's iusl part of the

I46

bird, iust the wings. (EQ) This effect
(gestures in a sweeping motion to indi-
cate flaring shape of wings.) (EQ)
Oh, now this looks like a dog (D8).
The head is here, like a poodle - or--
(E: "OK, and then you also mentioned
somebody walking upside down. ")
Yeah, here (Dd26 and Dd28) here -
people - upside down (words blurred.)
(E: "Can you - can you explain that
to me a little more? You're like talk-
ing to yourself, like you don't want to
tell me about that '. ") (Both laugh)
Not really. You see here? And the
person, you know, stands on their
head, and then this is their head (Dd26)
and they stand up - 'n - (E: "Where -
this is their head?") Well, this is
basically their head, here, you know,
and this is their arm (Dd28), and
they're, you know, on the - thing up
like that. (E: "And then, the rest of
their body - is where?") Over here
(gestures vaguely into DI) (E: "Like
you wouldn't really be able to see
exactly where. . .) No. (EQ) 'Cause

I one time tried it, and I looked like

an idiot, too (laughs).

lhatreminds
bat, is all it
toretum COl
ll: "You w:
littlebit mc
Slacks at i
Chicken t.

This remind
iatal lime:

5&3): sort
bugle.)

E1 '“t'lhat
3'. "Oh,
llaaghs Cll

I47

Card V

A 3" That reminds me of a bat - iust a

V
A

bat, is all it reminds me of (tries
to return card to E.)

(E: "You want to look at it a
little bit moreand see. . . "

5 looks at it again.)
Chicken legs.

Th is reminds me of a ballet dancer.
Total time: 43"

(S says something under breath and
laughs.) I

E: "What's that?"

5: "Oh, I think I'm seeing things'. "

(Laughs and rolls her eyes.)

Oh. (EQ) These were the legs of a chicken
(DI). I can always see chicken legs, I like
to eat chicken 0 lot, so I always see them
(laughs), you know the leg of a chicken.
(EQ) See this part here and the bulge?

I always see a bulge when I'm eating a chicken
leg (laughs). (EQ - what else you saw?) No.
What else? (Laughs) (E: "You don't remem-
ber?") No. (E: "Well, the first thing

you said, do you remember that?") No.

(E: "It was a bat.") Oh, yeah, my bat
again. Yeah, the bat'd be here (W). I

was thinking of that cause of this and this
(D8 and D9), this always reminds me of a
bat, this part here (D9) they have those
things they hang onto, like they put their
feet up on? (EQ) I suppose it's this (D8),
then I saw this (D9) and every time I see

this - thing it reminds me of a bat, plus

this middle here. It always reminds me -

I don't know why it re- (laughs) I think

I've got bats on my mind (laughs). (EQ -
you mentioned one more thing - ballet
dancer) It's the ballet dancer too. (EQ -
all or part of her?) Just her toes you know
like they go up on her toes sometimes?
(EQ-determinants) l iust saw people when
they do ballet do that. Go up on their

toes .

'.3‘ looks like al
craw'ls, you k
looks like a l
Something lik
lab, you knot
worms that yc
levels).

I looks like a .

 

Slike a crow
you know - )
lIt‘ll, you kni
like a lobste

°'--ll0 Ilene

T

148

Card VI

A 6" Looks like a kind of a insect that

crawls, you know. . .kind of. . .
Looks like a bird.

Something like the -(words slurred)
lab, you know, those worms--little
worms that you have to dissect

(laughs).

Looks like 0 dogs. Poodles.

'5 like a crawly animal has--crawl ,
you know - you know those things
that, you know, have those little -

like a lobster (laughs). Can't think
of: - -(to herself).

Total time: 1'2"

Oh, my worm again'. (laughs) (EQ)
Wo-o-orm (said in a drawn-out, loud
voice as she traces its path down the
blot.) (EQ) Oh, this is the whole
thing (D5) and down here, this is that
thing you have to dissect the tape
worm - tape worm or something, I
don't know. (EQ - determinants) As
soon as I saw the head (D7), you know,
the head (mumbled). (EQ) This long
body, you know (mumbled) the same
thing, you know, you look at the

back of 'em the same way (mumbled).
(EQ - what else you saw) A pair of
wings. (mumbled) (D3) (E: "Did

you see that as a bird, or iust more as
wings?") More as wings. Then a

bird came into my mind cause I

always associate birds and wings to-
gether, usually. (EQ - determinants)
I think this -- thing here, like this
curvature, you know . (EQ) No. (E -
what else you saw.) No. (E: "You
mentioned - the first thing you
mentioned is an insect that crawls,
can you be more specific about that?")
Yeah, that's the insect (points). (E:
"Oh,that's the- the worm, still. ")
Yeah, that's my worm (mumbled),
and up here is that crawly thing, you

know, that has the claws up here and

ll 4"

‘

I49

Card VII
These are bunny rabbits.‘ Or, it
col-l Id be two people. Two people's
Ft: ces. Could be like a dog on his
5 ; h d legs - who wants to beg food.
Rem i"eds me of a butterfly (mumbles

f
c) Se”) Well, this reminds me of

grabs you, like? (EQ) This here and
here (Dd2I and Dd28) and then up in
those two humps there. (E: "What
kind ofa crawly thing would that be?")
Mm - crab. (E: "Oh, a crab.") Mm,
crab (laughs and speaks at once so rest
ofsent’ence: is unintelligible). (EQ) To
me it iust looks like the body of it the
whole - shape of it, you know, - the
whole crawls. . .(EQ - location) Yeah,
probably - probably over here (points)
(ill-defined area in lower half of DI).
(EQ - determinants) Nope. (E: "And
- dogs.") These (D9) look like. . .(EQ)
The face is like this (end of D9) and
this part reminds me of the shape of the
poodle, you know how they look so cute
and adorable? (EQ) Well, I only saw
poodles three times, you know (laughs).
They always look the same. (E: "But
what about the blot makes it look like
a poodle?") Just when I saw the head
and the - the nose. This looks like a
head and a nose. It iust looks like an

animal.

Oh, my bunny rabbits'. (EQ) (S responds
with pointing to D2) (EQ) Their ears are
up. (EQ) Mm - their little - like the
way they do that (imitates gesture of
rabbit with paw out). All. . .(EQ)

the shape of the face. Could be No

clouds, yo
you're in c
see all the
in clouds?
l laughs) .
clouds.

latal time

I50

clouds, you know - when

you're in a airplane, and you
see all these fluffy little images
in clouds? Reminds me of clouds
(laughs). Perfect images of

clouds .

Total time: 53"

people , too. The way, you know,
their shape of their face is. (E: "If
they were two people, would they be
any particular kind of people?") Mm
(high pitched), girl and a boy. One
would be a boy and one would be a
girl (said while laughing). (EQ) They
look like they like each other (laughs).
(EQ) Well, the way he's - gazing at
her, you know, the way they're both
gazing at each other 'n (laughs and
says something about eyes). (EQ -
what else you saw.) That looks like a
paw - of - a clog (Dd2I). (E: "Now,
if this were the paw of a dog, where
would the rest of the dog be? Or is it
iust -") It's just the paw. (EQ) The
way they held their ba - their both

- paws (laughs) . (E: "Is that what

you meant when you said, before, a
dog on his hind legs, as if he were
begging?") Yah. (E: "You were iust,
really, looking at the paw, not think-
ing of the whole dog?") No, that was
the whole dog, then. (E: "Oh, that
was the whole dog. Well, where

were you seeing the whole dog then ?")
Before? (E: "Well, I have that written
down on this one. ") That was the -
colored thing. The whole color? Was
a - dog? Before? (E: "No, I - have

it written down here, though. That -

I5I

you said that about this card. ") Well,
mostly, that, you see, this is thing,
this is the - a - you know, basically
this port's the body, but. . .On the
other, you know, you just visualize
that that's the whole thing there.

(E: "In other words, you're not too -
right now you're not really sure that
you see the whole dog there. ") Yeah,
but - I interpret there is a dog there.

I believe there's a dog there. (Laughs)
OK ? (Laughs - says something while
laughing.) (E: "You also mentioned a
butterfly.") Oh, yeah, my butterfly
is here. (EQ - outline) (Traces D4
with finger while humming to herself.)
(EQ) Just these patches around here,
you know. (E: "Patches?") Yeah,
this whole thing is like a patch, and
the patch makes it - look like it's a
butterfly, you know how butterflies?
Their wings? (said very softly).

(EQ) - what else you saw) No.

(E: "Clouds. ") Oh, yeah, these
things here, they're all coulds (W) .
(EQ) Why? Cause every time I'm

in a airplane, I always see - patches
of things and they always seem to be
visual. (EQ) The color. The color.
Basically the color. (EQ) No. The

color.

it hh.M
MHed
lmmth
Mdml

l Hn

y b&sH

t ommd

 

Shem

halt

A t"

>v

I52

Card VIII
Rats. Mm this. . .Looks like the

inside ofa person's body (laughs).

I must (rest of sentence is slurred,
said to herself.)

Hm.

Looks like a camel. You know -
a camel? (Shakes her head from

side to side, and returns card.)

Total time: 40"

Ah, the rat (said in a dramatic tone,
then laughs). (EQ) Here's a little
(DI) (mumbled) a little first one's a
rat. (EQ) Cause of their outline
basically, is the only reason I can
figure out. The tail, and the foot,
and the head. (EQ) No. (EQ - what
else you saw.) Human body - you
know, inside the body, how its, you
know, (rest of sentence mumbled
softly) The spinal cord. (EQ) This
point here (Dd29) - and then these
(D3) . (EQ) No. (E: "The ribs and
the spinal cord.") This looks like the
lungs. (E: "Then what would this be?")
Just part of the whole blob. Whole
insides. (W excluding DI is included.)
(E: "One more thing.") Hm. (laughs)
Pause, I0") I don't - I don't remember.
(E: "Camel.") (Pause, 8") (E: "You
saw a camel again. ") Camel?

(pause) Camel's up here. (EQ) Thi -
This is a one camel (Dd23). (EQ) The
hump. (EQ - what view.) The back.
He's going that way (away). (EQ)

Just the color. You know, that shade

is usually what a camel looks like.

t

it
r

it" Claws, and
Another ani
lvlm - remin
The birth pl
t lodis like

l
ll

lotal time

A
V
/\

I53

Card IX
I4" Claws, and - I don't know. . .
Another animal. Fluffy animal.
Mm - reminds me of a baby.
The birth process of a baby?
Looks like the spinal cord.

Total time: 60"

Here's my baby again (D6) . (EQ)

Mm - see this outline here looks like -
you know when a baby's being born -
inside, you know, developing? (EQ)
The colors the way it's all mushed in
together on the - here's the outline
here of the face (D4) . (EQ - which
more important, outline or color?)

The outline. (EQ - what else you saw)
Mm, claws over here (D7) . (EQ)

This point, here, the little - protruding.
(EQ) No. (EQ - what else you saw)
looks like an animal. Like a rabbit

or something like. . .Somebody doing
work. Looks like a monkey - (hums) .
(EQ) This part here (DI). This, this,
this part right here - the face. (EQ)
Right here, here, here, here at the
top. (EQ) No, just, from here to

here (face is Dd24) . (EQ) I don't
know, I saw a picture one time of an
ape and that reminds me of an ape.

In a zoo. (laughs) (mumbles something).
(EQ - what else you saw) I don't
know. (E: "A spinal column. Spinal
cord. ") (Points to D5) Long (rest
spoken too softly to be heard.) (E:
'Anything else about it besides the
'longness' that made it seem like that

?") No.

5

ii.)

N - I got c
reindeer. .
Grasshoopc
like a catl
Seahorses.
Aiother cc
rabbit.
lree trunk
on it.
SCluirrel.
didn't ha
With a nu

lit/it's it.

lfilfll Hm

A 3n

<V/\

>V

<>

I54

Card X
N - I got crabs here, got a
reindeer. . .got a bird.
Grasshopper.
Like a cat, or. . .
Seahorses.
Another camel. Like a
rabbit.
Tree trunk, something hanging
on it.
Squirrel. (E: "Excuse me, I
didn't hear you. ") Squirrel
with a nut.

That's it.

Total time: 43"

Oh, my various animals'. Well, this
looks like a crawfish, you know, like
a crawly thing (DI)? (EQ) Just those
little things that go out like that. (EQ)
The grasshopper - or it can be a bird (DS) .
The way this goes up it looks like a
grasshopper. (EQ) Cause it's green.
Reminds me of a grasshopper. (ED -
determinants, which more important.)
The small like little things on it. . .(EQ)
Mm - these are reindeer - deers (D7) .
(EQ) The indentations up here are the
antlers, and the bounding - feet. (EQ)
No. This reminds me of a rabbit. (EQ)
(DI5) These were my seahorses. (EQ -
rabbit determinants.) Tail. (EQ) No.
(EQ - seahorses) (D4) The green.
Their shape - the way their shape was.
(EQ - green or shape more important?)
Especially the shape at the bottom of
that made it look like seahorses. (EQ -
what else you saw) Here's my camel
again (D6). It looks like two humps,
right here. There're two of 'em there.
(EQ) Just the way the - their shape is.
(EQ - what else you saw) This is like
a bark, and it looks like some blob or
something caught onto it here, like a
wasp or something like a bug (DI I) .
(EQ) A bark of a tree, you know,

it's just a small part of it. (EQ)

Total time for I0 cards:

I55

10' 44"

Just the way this went, over here, the
tree - looks like a tree. (EQ) They're
iust things sticking out of it (D8) .

(EQ - what else you saw) I think it
was a cat. (EQ) Tail here, and then,
sleeping here - body - iust sleeping
(DIS). (EQ) Basically, the shape of
it and the color. (E: "You say and the
color?") Yeah, the color. (EQ - bird)
Bird? My bird's part of my - this could
be also a grasshopper, too. (EQ) Jest
this (D5). Here. Face. (E: "Oh, so
it would be like the head of a bird?")
Yeah. (EQ) No. (E: "One more
thing. Remember what else you saw,
the last thing you saw?") No.

(E: "Squirrel with a nut.") Oh, my
squirrel. See the squirrel there (D2)?
There's another squirrel over there
(other D2), eatin' a nut (Dd33). (EQ)
Really, basically when I saw the nut,
it reminds me of a squirrel. So, I,

put in the squirrel. (E: "What made

it seem like a nut?") The color, the
way - the shape of it. (EQ - color

or shape more important.) The color.
(E: "And then the squirrel came

after the nut. ") Yeah.

Edi?

:re violi
rd i'm ll
til! 900'.
"ii-king .

babel i

‘Ji'S Ont

 

TAT, SUBJECT A, PREMENSTRUUM

Card I. 2" Oh, the poor boy, he's (sigh) he's thinking um, his mother - dad playing

the violin and he doesn't want to and he - his mother forced him to - go
take violin lessons and he's - all the kids are outside and playing football and - baseball
and I'm in the t-inside, y'know, studying music, you know, like - he doesn't think he's
ever gonna - achieve anything doing it, so he figures, oh, I gotta study and (sigh) he's
thinking of ways to get out of it, you know, like he says maybe I did it already, you know
(laughs) iust tell my mother I did it you know. But he says no, she has to hear me already,
that's another problem I have 'n, I have all this schoolwork I have to do, 'n my friends
keep calling me up and wanting to go out, 'n . . .then he thinks over, and he concludes

to himself that the best thing to do is last do it or else he won't be'able to go outside
anyway.
Total time: 57"

Card 2. 4" It's a girl - and it's - she's going to school. And that's - and she's married.
And she wants to get her education, n' they're - her mother - and she's like

living in with her mother, and they're - her husband's sitting and plowing the field, 'n she

says, oh, he's not doing anything, y'know, and - he has to plough, and my mother has to

y'know - sit there and do nothing, and , her - her mommy's gonna have a baby, y'know, a

and so - she has to, ah - help out 'n. They're iust - newly married and — she says, well I

don't know if I should go to school or, y'know, help out, y'know, but my mother insists

and he insists and - he says that he's gonna go to night school 'n, they iust don't want

to be farmers all their Iife'n live in the - farming town, they want to go to the big city,

'n she's thinking of the time when she'll be able to go to the big city 'n -- she's iust -

sidling off, to go off 'n go to school'.

Total time: I' 3"

I56

.-

ti-tl. 3"

or know

I57

38M. 3" Poor boy. He's so disgusted 'n (sigh) he doesn't know what to do, life
hasn't brought him much happiness 'n - he's iust crying away, and he says,
you know, what have I really done, I haven't accomplished anything in life and he says
well maybe I'll iust go away, and nobody will find me anymore and who will care, I have
nobody, you know? So, he's iust contemplating his way of getting out, he says, well,
should I go away or shouldn't I, and he's iust sitting there iust cryin' himself out, 'n very

depressed 'n - he's still sitting there, 'n he still doesn't know what to do.

Total time: 44"

3GP. 4" Oh, she iust had a fight - with somebody, either brother, sister or - a

boyfriend, probably a boyfriend, 'cause she looks really (unintelligible
word) out, you know, like she really had a bad time of it, 'n doesn't want to go back into
the room because (sigh) if she goes on back into the room she has to face him and they'll
probably argue again, it's not any good 'n - how will she - and they're - y'know - tryin'
to work things out, you know, staying together, and doing things that she doesn' - that
she can't do it - y'know, the right way - she thinks, y'know, maybe it's best I leave,
y'know, if he doesn't care 'cause we had the argument, 'n he wouldn't mind, y'know, he
wouldn't follow, or do anything so she's just crying away out in - she just doesn't want to
go in - she decides that she doesn't want to go in the room, 'n she decides she's gonna

pack her - bag 'n leave.

Total time: 5I "

4. 3" A very - he's 0 artist - and she's helping him, y'know, achieve his y'know,
artistic abilities, 'n he's - distraught - 'cause none of his paintings have -

been sold, and - he doesn't know what to do and she's trying to, ah - sympathize with

him and telling him though that someday it will be, it iust doesn't come overnight, and

he says, no, it can't be that way, y'know, I'm iust no good, I can't do nothing, 'n she's

still trying to y'know, give him her love, and, (sigh) he doesn't know what to do, and

he's - and the paintings are in the background and he just thinks and thinks and - he just

thinks there is no despair, but - she thinks there is hope and, there must be hope if she

thinks so.

Total time: 5I "

tehhks
'otdafin
to is gen
~cedup

reeshe

ital time

158

5. 6" This is a room -where- things were happy. And she would open the door
and she was very sad, and she - remembers the good times, in the past and
she thinks to herself I can never go back to the past. The past is done, finished, and it
iust doesn't come back, and she was thinking of all the memorable times, that - her loved
one is gone, and she has nobody, n' - nobody really cares about her - all her family have
moved up and gone away and - she doesn't want to really go into the room, but - this is

where she lives, and - she decides well, she has to go in and face - life - as it comes.

Total time: 46"

6GF. 7" Here it's two people, they're - talking about - what they're gonna do in the -

morning, 'n, about their kids, 'n - how they're gonna give them an
education, life is being rough, and the war is going on - World War II - and - they don't
know what to do, and he - you know, his - his son is in - the army and they're iust - talk-
ing away, and he's holding - his pipe because he's nervous, and if he doesn't hold it he
may, y'know - cry 'n - so he's talking to his - wife, and they're deciding to - try to make
ends meet because - they have other kids and they don't want them to know what really is
bothering them.

Total time: 47"

7GF. 3" Here's a mother, 'n - the little girl 'n she's (sigh) she has a doll in her
hand she says, well, I want to play mommy, but - I don't want to play

mommy, y'know, why do I have to be mommy, 'n the mother is telling her, y'know, you -
someday you're gonna grow up and you better be a mommy, so you have to play with dolls
now, and - she stays no, I don't want to play with dolls, I want to go to school, and be
somebody, and - so the mother's reading to her a book on - philosphy or - some other
subiect, and she's iust - dreaming away, and dreaming of faraway places, 'n - where she
would like to be when she gets older, 'n she has no care of the doll and she's just -

dreaming away and just - thinking of other things.

Total time: 48"

 

my 4n
3‘3 .

i: the war!

 

can, y'
‘t'tfiOW, 9'
duty, 0

l

l

iotol time

i...

‘v?& I0
.:I l
...I y

'."-€- l
N

If)

I59

8GF. 4" This is another daydreamer, and - once ‘ '

and~she's dreaming of the time she was, 'n now she's - sick 'n she can't -
do the work she's always wanted to do (sigh). She says to herself I have tal - other talents
- I can, y'know, paint, or - write, or - teach, or do other things, and she's thinking -
y'know, going back and doing something about it, not iust sitting around and being - a
nobody, and not, y'know doing anything for anybody. She days well, I'm gonna go and ..

help somebody tomorrow .

Total time: 44"

9GF. 5" Icy day, and uh, there's these two - these two friends are coming home
from - y'know, their school, and it's so cgliand they don't know what to
do, but they - want to get into some mischief'. And - the other girl down there near the -
y'know, not above the tree but below the tree is thinking, well, lemme see I can go - to
the pond and, y'know, play in the snow and - nobody will care, and the other girl's telling
her, well, you have to come, y'know, you can just stay out there you have nothing, really
on to keep you warm. And she's saying, no, I iust don't want to go home, don't want to
do nothing, | just want to sit out here and do - do - what I want to do, y'know, I don't “
have to go home, y'know, and no one can make me go home. And so the other girl says
well, I'm going, and you just - take care of yourself, and so the other girl says, well -

see ya', bye (laughs).
Total time: 56"

IO. 6" These two people and - they love each other very much, and - she's - crying,
'cause she's unhappy, and - he's - trying to - y'know, hold her in his arms

and trying t' help her, y'know, overcome her problem. She - she's - y'know, he has

family and she doesn't, and she says, well I don't know if I can mix in with your people,

'cause I have nobody, 'n - we're iust newly married, 'n they don't know us, y'know, whether

we can do them. So - he tells her that - you're with me and - if they don't like ya', then

I don't like them (laughs).

Total time: 44"

At this point further instructions are given for cards II-20.

“uh

I

ll, l0"

racedy's gonna

. , ,
gas me, lm [I
at And he's:
it‘ci, 'n go dc

ind that maybr

ital time: 48

3334993), and
'W'Oild, CDC
an, t'hnow,
.(lll he, and

belt

”mic

I'IF‘ 7H

I60

II. I0" I'm iust a little person, nobody cares about me, I'm just a little grasshopper,
doing nothing, iust going climbing these - beautiful, beautiful caverns,
nobody's gonna think I exist, y'know, if some - big bird comes around here, he's gonna
grab me, I'm iust so little why did I come into this world? I'm little nobody's gonna help
me. And he's saying, well maybe if I go down, further down, and I go down to the grass-
lands, 'n go down to where, y'know, my kind are, where the other grasshoppers are, and

find that maybe nobody will hurt me.

Total time: 48"

I2F. 8" Whoo (sigh), let me see, heh heh heh heh (cackled, like a witch). I gotta

get her, she's not nice. She has everything, and I have - I'm just old and
graggedy, and - and l have t' - y'know, find a way, 'cause she has all the happiness in
the world, and shes so pretty, 'n - 'n I'm so icky, 'n - 'n who wants me so, maybe I
can, y'know, knock her off, y'know, maybe I can, y'know kill her, 'n y'know, how can I
-' kill her and she's thinks - she's thinking of all the ways, and - and then she says, to
herself no, I don't think I'll do it, they'll find out about me anyway.

Total time: 53"

I3MF. 7" (Sigh) I'm exhausted, another day, another - workday and she's sleeping
there. Ahhh, I'll have to go home to my wife. Hm. My wife. She's a
pain in the neck. All she ever wants me to do is - do the work, do this, do that'. What
do you think I am, a slave or something? Ha. I get a better - y'know - deal from these
women, y'know, they don't tell me what to do. Like - I go home, and the children, all
the children, they kill me, they just - kill me, they're not doing nothing, they just - go
to school and they come home, and they drive me up the wall. He says, well, maybe I

won't go home, maybe I'll go to the bar.

Total time: 50"

gas: is sr
it such a
it he's
or: tell

he sort

lo'ral ill

Iol

I4. IO" He's thinking, and he's thinking, and he's saying it's a real nice day to go
fishing. I wanno go fishing. It's beautiful, and the sky is blue, and the -

grass is so green, 'n - the fish are iust waiting for me, you know, I haven't gone fishing

in such a long, long time. And maybe my brothers and sisters wanna go fishing with me.

And he's saying, gets up at five o'clock in the morning, maybe, if I go - write a note,

and tell nobody, and - then I can sneak off, and I go fishing, and I come home at seven in

the morning, and nobody will know where I went (laughs).

Total time: 56"

15. 6" Graves, graves, graves, graves, graves, that's all there is, is graves, and
there's one there for me. One there for me. Nooooo, I'm gonna try to
conjure up the dead, heh heh heh (cackled), that's what I'm gonna try t' do. .Nobody has
done that yet, and all the dead people and I will congregate together and - do lots of evil.
I'm gonna make this world suffer - like it's never suffered before. Because I am evil. I am
mean and nasty. And I'm going to do - my mean and nasty works'. Now I‘m gonna go into

my laboratory, and I'm gonna find the secret - to the dead.

Total time: 55"

(Further instructions given for card # I6)

I6. 7" There's a brick wall, and there's two kids tryin' t' climb over it, to go to the
other side. And they don't know what's on the other side, and they're
thinking, maybe it's beautiful, maybe it's a beautiful garden with - lots of trees, 'n -
beautiful grasses and everything, and - they're climbing up the big, big, big, big, big
brick wall. And they're climbing, and they're climbin', finally, they reach the top, and

when they get over there - there's nothing.
Total time: 39"

I7GF. IO" Dark, and it's gloomy, and this girl is (sigh) sitting on a (sigh) whaff-like,
and the - guys are iust doing their work, and she's thinking. It's so beauti-
ful down there in the water, maybe the fishes and I will get along together. And she's -
thinking, and she's thinking, and the guys are iust doing, and they don't know what's up
there, they don't know what the girl is contemplating. She's thinking, oh, I have nobody,

I'm iust gonna go down - to the water and visit the fishes.
Total time: 48"

 

IBSF. 6"

mllyltflsnlll 5
”ing bECleV
J; the mall)
son. And SOSl

last-89?“ 5'

13,1! time: 4
3"

‘q lug - you
3555 Elie WC
See's a tub
'.I'l‘. here or'
lgs down -
i'll bum up.

I
. rs
mt

ll-e

tza': time:

 

I62

IBGF. 6" This woman doesn't like this woman, and she's trying to kill her, and h -
because - she thinks she's done mean, nasty things to her son, and - and she

really hasn't, she's just trying to make her - son happy, but her mother insists that her son

is being bedeviled by her, and she says, well if I kill her, maybe, my son'll be rid of her,

but - the mother is really only out for her own interests, and doesn't really care about her

son. And so she's continuing her act, and the woman is struggling for survival. (E: "What'll

happen?") She'll iust kill her (laughs). (Final phrase too soft to be heard.)

Total time: 43 "

I9. 3" Oh, fairy tale land (softly). (E: "What did you say?") Fairy tale land.

looks like fairy tales, you know. Like there are these two eyes, watching
in this - you know, like it's an igloo type. And they're - he's saying, oh, the people
inside are warm'. And I'm iust a little body, a little cat, and I have to get inside. And
there's a rabbit in there, and I like rabbits. I like to eat rabbits, and I want those rabbits
and there are six of those rabbits. And if I sneak down, and - I go up in the chimney, and
I go down - the - well maybe the chimney is light and I can't get in there because then
I'll burn up. Well, maybe I'll disguise myself - as another rabbit, and I'll go inside, and
then I'll - eat them all up (laughs).

Total time: 57"

20. 4" It's dark. And it's in a park, and I'm - I'm walking and I'm walking, and

I can't find nobody, not even a policeman or anybody to ask me, I'm lost,
I'm lost, I don't know where to go home. I shoulda' been home hours ago, I'm lost. And
all of a sudden, she sees - a man, creeping up behind her, and hearing footsteps, so she's
getting scared, and she's crying, and she doesn't know what to do, and finally, when the
man steps into view and it's a policeman, and she says, thank you Mr. Policeman, can you

tell me where to go home? (Laughs)
Total time: 44"

Sfells all stories in a dramatic voice.

 

I Oh, Hey,

Umm. Birt

lends and
lalliag to
lamps. A
olo come
camels lo
like-on
rabbit. (
Spinal -:

snake - l

latel llm

RORSCHACH, SUBJECT A, INTERMENSTRUUM

Card I
A I" Oh, Hey, that is cool.

7" Umm. Bird. (Gestures with
hands and mumbles to herself.)
Talking to each other. Two
humps. Always reminds me
of a camel. Always think of
camels. lately. And. . . this is
like - an airplane. And a
rabbit. (Pause.)

Spinal - you know, like a -

snake - like a worm thing.

Total time: 47"

163

(EQ) Mm, these were wings - of an
airplane (D2). (EQ) Well, every

time I go on the airplane, I see the
wings out like that, you know. (EQ)
How these stick out like wings? (EQ)
Just the shape, the way they, you
know, go, n'.. .Mm. These look like
two people talking (DI). (EQ) Like
mouths. Open mouths. Here's two humps,
like camel's - humps. (Dd22).

(EQ) Oh, the humps - always reminds
me ofa camel. (EQ) No. (EQ) Mm -
well, a rabbit. (EQ) (Laughs), yeah,
now it looks like a rabbit. Just this
part, you know, right here - the ears
(D5) (head of rabbit faces toward the
center of card) (EQ) Just this part,

you know? (EQ) I don't know. I was
thinking of rabbits lately, I guess. My
cat reminds me of a rabbit, too (laugh) .
(E: "Was it the ears, mostly, that made
it seem like a rabbit?") Yeah. The
ears and the little nose. The nose of

a little - little pinched nose. (EQ) No.
(EQ) I can't think of any. (E: "Let's
see, you mentioned a bird. Is that the
same as the airplane?") Mm hm. (EQ)
Yeah, the wings, also (E: "OK, did
you see that - differently? Is that like

an alternative to - it can be a bird or

it

Elephant
ll'c'ise)
lPOuse)
Butterfl)
IPOLtse)

AnOilter

'E‘Siure

Total ti

A 4"

I64

Card ll
Elephants.
(Pause)

Dog.

(Pause)

Butterfly.

(Pause)

Another worm, uh

(gestures)

Total time: 3 I "

an airplane, or did you see it as two
separate things?") Either or. (E: "OK.
And - and the - spine of a - snake or

a worm?") Oh, (Midline). (EQ) I
don't know, I always -- comes up from
biology, taking biology. You know,
where I always see those things, I always
love - the way the spine up the back.
(EQ) The line, right here. And the
little thing down here (Dd3I). Little -

curvature .

Oh, my elephants. (EQ) They're this
whole thing, here (DI). Just like -

it's like the outline of it, you know?
Looks like an outline of an elephant.
(EQ) The trunk ,. (EQ) No. (EQ) A
dog .‘ Looks like two dogs (D2). (EQ)
Because of the paw like - out (Dd of D2).
(EQ) It's like the outline it looks like
to me the dogs would be standing up,
doing tricks. (EQ) A butterfly. (D3)
(EQ) Well, here it looks like the wings.
(EQ) No. (EQ) lt'sa wiggly little
worm (laugh). (EQ) See here's a, you
know those a - tape worms, I don't
know what they call :'em , but - they
look like that (D4). Their head.

(E: "Is that iust above there? Just

that little tip end. ") Yeah, yeah,
that's its head. (E: "It's the - head

ofaworm.") Yeah. (EQ) Probably

l‘

q
.‘I

l

T

is two peop

ii encour

Seoltotrse:

Total tim

A a"

>
A

I65

Card lll
Two people talking. (Pause)
(E encourages turning)

Seahorse.

Total time: 26"

the same thing that reminds me of all
worms (laugh). You know, the -

thinking of biology.

Oh, twa people. (EQ) See, the heads.
The way they look like they're talking.
Sitting, talking. (EQ) This, this, this,
n' - this, this - this whole thing (Dll).
(EQ - location) No. They could be,
too. (EQ - location.) No. (EQ -
determinants). Just the way the - uh,
shape of the face is. (EQ) No. (EQ -
what else you saw). Like a - dog (D2) .
(EQ) This part here. Not this part
(Dd25). Just - (EQ) (Both talk at
once.) Yeah, he's iust laying down.
(Pause) (Laugh) I don't know. (E:
"You don't remember anything else?")
No - (Laugh) (E: "A seahorse?")
Yeah, he looks like a seahorse, too
(D2). (EQ) Yeah 'cause it's the whole
thing. It's a seahorse. (EQ) This
little thing (Dd25) and this - his little
head.

 

Crawly t
crowiislt
the - oc
(Pause,

It's a pe
(Pause)

Looks lil
mum?

OI an ur

Total I’ll

A4"

>Is><

I66

Card IV
Crawly things. Kinda like a -
crawfish, uh, you know, in
the - ocean? (gestures)
(Pause, I7")
It's a person upside down.
(Pause)
Looks like - these things look like
an urn? Like the (gestures) thing

of an urn.

Total time: 44"

Crawly things. (EQ) Here, like the li -
the arm or the leg of the - you know,
those crabs that go in the ground (D4).
(EQ) Mm hm. (EQ) Just this point, here.
(EQ) Just the shape, the way it's shaped.
It's also shaped like an urn, you know,
like those potted urns, you know, like
they stand out like that (gestures)? (EQ)
Just this part (D4). (E: "So it would be
really the handles of an urn?") Yeah,
they are. (Pause) Somebody standing on
his head. (EQ) See his toes (Dd26), he's
upside down. In the shadow - like that.
(E: "So he's kind of in the middle of that
(DI), and you can't - all you can see is
his feet? Is that it?") Yeah (S sighs

and looks apologetic) (E: "Don't be
embarrassed, there's no right answers,

it's iust whatever you see, and I want

to make sure that I'm seeing the same
thing that you are. I want to get your
interpretation, not mine.") Yeah, how
many other people have the same (laughs).
(EQ - determinants) Tell why'd I think
of that? Just the - just the way the
feet. Feet are like - up. (EQ - see
anything else?) No. (E: "OK, I
don,’t think I have anything else either.
You mentioned something about a crow-

fish - in the ocean? But that was the

first thing in here?") Yeah.

3' Chicl

Hung

Iotfl

A 3"

I67

Card V
Chicken legs. (Laugh)
Hungry. (Laugh) Mm.
Like a bat.

Total time: 2I "

Mm hm a leg of my chicken (laughs)
Ate chicken last night, so -. (E
coughs) This part (DI) looks like a leg
(laughs). (EQ) This whole - the curv-
ature here, and this little thing here
looks like that. (EQ) No, just the
shape, the way it's shaped - (EQ - what
else you saw) Looks like - someone
dancing.(short laugh) (D9) . (EQ) Just
the legs, you know like ballerinas stand
up on their legs like that and they
dance (phrase unintelligible). Looks
like a bat. (EQ) The whole thing
looks like that to me (facial grimace).
(E: "You don't like that bat. ") No,

I don't like that bat. I saw the bats
once, and I got scared out of my mind.
(EQ) The sha - you know, like the -
this part here? And like his legs are -
bat's legs. (EQ) Mm - coloring, uh,
like coloring of a bat. (EQ) - which

more important). The shape.

(Cetus
things.
Dog.

An - or
crcwiisl
you Inc

Wings.

Total ti

Y

I68

Card VI
A 6" (Gestures) Like squiggly
things.
Dog.

An - antennaes of a - like a -
crawfish, the antennas of it,
you know?

Wings.

Total time: 33"

Mm. That little - thing comin' up here.
This is his head (D7) (laugh). He's
haunting me (laugh). (EQ) Yeah, that -
could be the spine, uh (entire midline
is worm). (EQ) Basically the top here
with the line, you know, the shadowy
line. (E: "The shadowy line?") Yeah,
you know like the dark that's in - this
is light here. Here it's dark with a
little line down there (D2). (E: "Any-
thing else besides the shadowing make
it look like that?") No. (EQ - what
else you saw) Wings. (EQ) Here's
one pair and here's another pair (D6) .
(EQ) Just the shape the way they're
(points). (EQ) Mm. (EQ -what else
you saw) Dogs. (EQ) That's this part
(D9) . Like a poodle. (EQ) Like this
furry thing and the furry, you know,
like his nose is always (gestures). (E:
"What made it look furry?") I guess
the color the (sigh) shading, made it
look like that. (E: "Anything else
besides that make it look like a dog ?")
No. (EQ - card position) Yeah,
basically his head. (EQ) Crawly
things, you know, other - you know
his tentacles, like? They crawl?

Like a - crab? (EQ) This, this, and
- part of this (Dd2l and Dd28). Like
the whole shadowy part. (53 "CTOWIY

.“.-3|

At, s.

’r-Ddusei
like cl
Gliplgn
Cauld I
talking

' AWl'lg

Intel t

I69

Card VII

A I " Ah, the bunny rabbits (laughs).

74

(Pause)

Like clouds, like - you're in a
airplane, you see the clouds?
Could be two people, y'know,
talking (voice very soft)

A winged - bat.

Total time: 30"

things. So that's - tentacles or legs or
something like that?") Mm hm. (EQ)
Color. (EQ) No. Mm now it reminds
me of beaks of a bird. Just this part
here, you know, like little birds,
chickens, you know like you see them
coming up out of their nest, you know,

like little beaks (laugh).

Oh, my bunny rabbit again (laughs).
(EQ) His ears, and his head, and his
little cottontail (D1). (EQ) Just the
whole shadow-like effect. (EQ) Mm -
the shape - the way the shadow is
shaped. The --- (E: "I'm not clear
on what - what it is about the shadow-
ing that helps to make it look like a
rabbit.") The color, basically, the
shadow or the color, you know, 'n the
. . .Looks like clouds. (EQ) Basically
the whole thing. (EQ) The color
basically, the. . .(EQ) Oh, the shad-
ing, the way, the, you know, the -
clouds have that kind of a - look.

(EQ - anything else.) People. Two
people. (EQ) It's the face of the
people talking. (EQ) Just the head
(DI excluding D5). (EQ) Here - the
shape of the nose and all that - curv-

ature. (EQ - what else you saw.) A

bat again. (EQ) This and this whole

A5"

><

I70

Card VIII

Uh, like rats or mouses, er. . .

The inside of the (unintelligible).

(E: "The inside of the what?")
You know like the lungs, you
know, like the (voice trails
off.)

(Pause)

Looks like a dog.

Dancer. On her - her legs,
dancing (laughs)

Total time: 47"

thing (D4). (EQ) Basically, this part
here. (EQ) I don't know, I just look
at it (unintelligible) same thing (laugh).
Like a bat. (E: "The clouds that you
mentioned before, like - being in an
airplane, would that - would that be
like you'd be close to the clouds, then,
when you said being in an airplane,

or would you be far away from the
clouds?") Close. (E: "Anything else
you can tell me about why that looks

like a bot?") The shape of the wings.

Hm'. A rat or a mouse, um (DI). (EQ)
The color and also the shape - of its
head, 'n, iust...(EQ) Shape. (EQ)
No. (EQ - what else) Like the lungs,
on the side over here, basically this
part here (D3) . (EQ) Just - (EQ -
location) (also Dd2I). (EQ) Just the
lines, you know, like, in your lungs
you have lines goin' like that. The rib
cage. (laughs) I don't know where I
get that. (E: "Is that what you - is
that what you meant, are you clarifying
that or does it look - different — now?")
I'm just clarifying more what I see.

(EQ - what else) I have a tendency to
forget things, you know (laugh). Word
it comes out three hours later. Mm.

See the head of a dog again (Dd26).

You know, iust the - part here - the

< 7"

>V

I7I

Card IX
A baby. (Pause).
Like those little - crawl things,
that - you know, like, how
d'you? Not (unintelligible) I
forget the name of it (most of
this said to herself.) Like a
lobster. Y'know (to herself.)
Looks like a cloud that - you
took a - like a picture of some-

thing? Like a bear.

Looks like a ghost (laughs) - hat.

Total time: 54"

nose. (EQ) Basically this little shape
here, the nose, and the little curvature
here. (EQ) No. (EQ - what else you
saw) No (E: "Dancer - on her legs -
dancing?") Here (Dd24). (EQ) Well,

I've seen ballet.

The baby. (EQ) Yeah, the whole thing,
you know, like when - you see pictures
of its birth process (D6). (EQ) The
shadow - effect. (EQ) No. (E: "Can
you see distinct parts of the baby, or is
it - ?") Like this is the head (D4), and -
whole body (gestures) - like they're
twins. (E: "Oh, I see, so you have -
there's one on each side. ") Yes.
Crawly things again. (EQ) This part
here (D7), the sh - you know, shape
like. (EQ) No. Ghost. (EQ) I think
this reminds me of it like the top hat,
you know, like Ku Klux Klan? (D3
excluding D7) (Laugh) (EQ) No.

This is a kind of an animal like a
bunny rabbit, or some - (DI). (EQ)
Here's the tail (Protrusion at Dd3I),
here's his head (Dd24), and the shape
of his body. (EQ) It's basically the
shape. Looks like a spine. (EQ)

Just from the coloring the way the
color is - and the - basic shape (D5).
(E: "Then there was one other thing

that you saw.") (Laugh) (E: "Do

soit l

 

l\1"

<V

I72

Card X

Oh, my many friends. (Too

soft to be heard.) (E: "Wth

was that?") My many friends
(laughs).

Um - like a crab. Grasshopper
Some icky thing lying on a bark

of a tree.

Dogs.

Reindeer.

Like a rabbit, er. . .

Camels. Two camels. Like wish-
bones. Mm, now this looks like a
thingamaiob, I don't know, like a
- l - can't explain it - it's somethin'
from a - science fiction movie I've
seen now that I think (laughs) Mm.
I said seahorses, right?

(E: 'No. ")

Two things, fighting each other
(gestures).

Total time: 34 "

you remember what it was?") No.

(E: "A cloud?") This thing here (DI).
(EQ) The shape, the color, 'n. . .(EQ)
Shape.

Oh, my many friends '. (Laugh) Isaid
that again, didn't I? (Laugh) Oh, my
reindeer (D7). (EQ) Shape. (EQ) Color,
too, 'cause color - the reindeers are
always this color. Mm. I've got another
one of my crawly things (laugh). Bad
dreams at night. Really little crabs, you
know (DI). (EQ) Mm - nothing else,
iust the shape, the way the tentacles are
long, so they. . .grasshopper (DI2). (EQ)
Shape and color. (EQ) Color. Mm.
Crawly things on the bark of a tree.

This is - this is the bark (DI4), and these
are these little - things on the tree (D8).
Basically the shape. (EQ) No. Also
there are - two things fighting each
other? You know, like. . .(EQ) Uh huh,
see right here (D8)? You can see, like
their mouths are open real snarly - like.
(E: "What kind of things would they
be?") Mm. . .I don't know, two - things.
(E: "Would they be like animal-type
things, or human-type things, or. . . ")
Like bugs. Great big bugs. (EQ) I
don't know, basically this mouth part.
(EQ) No. Mm. Horse. (EQ) and 0
dog (02). A dog. (EQ) A dog- (EQ)

I73

The shape. (EQ) And the basically
the e - you know, the nose and - tail.
Seahorses here (D4). (EQ) Shape, you
know, seahorses are shaped like that.
(EQ) No. Two camels - (D6). (EQ)
This was one, and this was another.
(EQ) The shape. (EQ) No. Mm.
Bunny rabbit (DI3). (EQ) Just the
nose. (EQ) No. Shape, too. A
wishbone (D3). (EQ) The way it's -

V shaped up, and the little - things here.
Mm. . .Two people - you know, like
standing up, 'n. . . (EQ) Here's iust the
face (Dd3I). This is basically this
part. (E: "It's a face then, it's not

a whole person, it's iust the face. ")

Uh huh. This part is part of an animal
(rest of D9). (EQ) The color. The
way the color's shaded together. (E:
"Does that have anything to do with -
you said something about science
fiction?") Yeah, those little - also
there are little type of crawly things,
you know, like in science fiction
movies they always have these - weird
--looking - things? (EQ) This - the
whole body looks like a weird thing.

(E: "Like a weird person thing or a
weird animal thing, or -?") I don't
know, a mixture. (E: "What about it

made it seem weird?") It has to do

with the shape of it, it's not --'it's

I74

very -- you know, how do you say that?
Too many curves and all that other stuff.
(E: "Kind ofa blobby shape ?") Yeah,
blobby.

Total time for IO cards: 8' 25"

E: "Good'. OK, now we'll go back over them
and you can show me everything. "
S: (laughing) "I have a very poor

memory this week . "

L-—' _, _.

TAT, SUBJECT A, INTERMENSTRUUM

(Laughter at end of instructions.)

Card I. 5" Today - is - my violin lesson. I am thinking - whether it is worth playing

violin today (laugh), because - I am not a very good violinist. I can't even
read my music (laugh), how am I gonna play violin? Well, I guess I'll just sit here,
because - I guess my mother will call me and I'll have to go, anyway.

Total time: 3I "

Card 2. 7" Mm - my parents are ploughing. And, I have to go- - to school to earn

money, so they can feed - themselves, because the farm is not doing too
good, lately. And my Mommy's gonna have another baby, so there has to be more money
in the house. And - my Daddy works so hard. And - he tries his best, so I must go off to
school. But - I don't really like school. (S returns card.) I don't like school (laughs).
My thoughts come in.

Total time: 40"

38M. 4" (Sigh) What have I done, what have I done? They put me in here and I
don't know what I've done. They always put me in here and I never know

what I do. They always look me up. Every time I go out - and do something, they always

look me up. I iust don't like being locked up. I think I'm gonna try the escape.

(E: "What happens?”) He iust sits there, tryin' t' think of what he's gonna do. (Laugh)

Total time: 34"

3GF. 7" Day's been really bad, and - I haven't found any work. And I have to go
back into the apartment, tell - my husband - the bum - that I haven't

done anything, and I can't find any work, 'n - we can't live - on - the money. And he's

gonna start yelling - and screaming at me, and throwing bottles around. So I don't know

what to do, I think I'm gonna leave 'im.
Total time: 36"

I75

I76

4. 6" You're such a good painter, I don't know why you're iust - being so
distraught, n' so - you know like - giving up all of a sudden. You're
really good, just you iust - haven't had the breaks. Even the painting on the wall is so
nice n' good, n' - the - the texture is nice and the girl is - you know - really done well.
You just have to try a little harder and don't just give up. And then he says, I'm -- gonna

try, but - I don't know, we'll see what happens tomorrow.

Total time: 4] "

5. (Sigh)
4" Coming back after - such a long, long time to this apartment. It looks so
different than it was when I left it. Well, I think I'm gonna remodel the

whole place over again so that it's more cheerier. And - find a - border for the place.

Total time: 25"

6GF. 6" What did you do today at work? How was your day? Oh, I was just clean-
ing up, and taking care of the house, n' - your dinner's on the table. Oh,

you wanna go out to a movie tonight? I'm getting very bored, you know, the kids are up

in bed, and they're asleep, n' - there's nothing really much to do, and nothing on the TV

set. So do you want to go out? Yes (laugh) .

Total time: 33"

7GF. 5" Don't you like playing house? Don't you like your new little doll, that I
gotcha? She says no, I don't like playing house, I like reading, and -
more interesting things than playing house. Playing house is for little kids, I'm not a
little kid anymore. And the mother says - well, what do you want me to do, you know?
So the - the girl says well read me some of the book, n' you know. And - mother's read-
ing to her and reading t' her, and - and the girl is saying, someday I'm gonna grow up

to be an author.

Total time: 40"

 

gem he

I

.st'oct

l I
semetnma

V

as then r

'sai time

I77

8GF. 6" She's thinking of the day - past, and what went. She's a -- famous - star,
and she just wants to be alone and ponder by herself. Cause - there's
gonna be a party tonight, and she won't be able to think . Be too many people, and - she
has t' act different because she's a star. An ' - she doesn't like - acting, n' - out -
something she isn't. So - she's thinking of going away for awhile, an' - getting a rest -

and then making new friends and people.

Total time: 44"

9GF. I0" They're - walking home from school, and they're running and they're play-
ing. And they're iust catching a wind, cause it's a real nice, brisk day,

'n - the other girl wants to go home fast, because she's expecting a - real important letter,

and she's telling her girlfriend to go - ahead of her, 'cause she's - you know - gonna -

really run - behind - her, and go - in the side bushes and go - you know, take - the back

streets and everything of it, so she can get home and get her mail.

Total time: 42"

I0. 8" It's a very tender moment. (Sigh) and they're iust - together. They had a
long day, n' - they just want to be together, just quiet, iust have the music

in the background, 'n they're gonna have a little quiet little dinner, 'n iust be alone

together for the night.
Total time: 29"

At this point, further instructions are given for cards II-20.

II. (Laugh)
II" I am a little ant. And this is my big, big, big world. An'--I have to watch
myself because they have lots of dangerous things around here that I can
get hurt. Especially this big crevice down here. If I walk one more step, I'm gonna go,

blup'. Into the big crevice, and be no more. I wish I had some friends. I haven't found

anybody in this place. I think I'm gonna go move.

Total time: 44"

I78

I2 F. 4" This is my chance, heh-heh-heh (cackled like a witch). I'm gonna try to

persuade her. She's so naive and innocent; she'll believe anything I say --
about her husband. She - and my husb - my son shouldn't be together. No one should have
my son. And I'm gonna find aaall the ways in the world to persuade her to leave him.

Even if I have to lie.

Total time: 36"

I3MF. 5" (Sigh).
9" Another day. Back to my old, crummy, crummy iob. And all she ever does
is sleep all day. Sleep, sleep, sleep, sleep. While I'm working and
working and working. Well, she can sleep there all day, I'm iust gonna write her a note

and tell her I'm leaving.

Total time: 3I "

I4. 5" (Sigh) I've gotta breathe. This little room is so -- icky. Has no -- t - close
the door and you can't breathe. Such a small little room. Gonna open the
door and sit out on the ledge and iust sit there and sit there and look at the world. But I

have to close the door anyway, 'cause the smog is getting me.

Total time: 32"

I5. 7" I am going to rule the world. I am going to bring the dead alive, ha ha hee
ho (cackled in a high voice). And then - there will be no more dead people.

And I will put - things into their brains so I can manipulate them. So they'll be to my will.

And I will rule the world and the countries, and I will manipulate people and I will be the

richest person in the world. I will be king'. (Laugh).
Total time: 33"

(Further instructions given for card # I6) .

Ii. t Vt N. u u ed U

l.\' .Mlu but I w 1.. n.
n l- ..il. file at. v

u i lthlt lull i! a

 

I79

I6. 2" It's a beautiful day, and the trees - are green and - there's a lake, 0
beautiful lake that goes for miles and miles. And there's birds, and there's
- all sorts of animals, and I'm sitting there playing with the deer, and having fun, and - I

wish life could always be this way.

Total time: 23"

I7GF. 7" Girl up above contemplating to - go off, and - commit suicide'. An', she's
thinking, and - people below her are working - their night, you know, the -

harbor and - she doesn't think of anything in the world except herself and her problems.

And she says if she - gives in now, she may have - tomorrow may be better, so - she's

deciding, well - I don't think I'll do it, I think I'll go back and try harder.

Total time: 37"

IBGF. 7" I'm gonna kill you. You're bad, all bad. You've taken away my son, and

what do I have, I have nothing. He wants to leave me and go off to the
big city. I'm not gonna have nobody. Not nobody. So the only way to do is have you
dead. So I can have my son back.

Total time: 29"
(S Laughs.)
(E: "A vicious character. ")

S: "Yeah, terrible person I am (laughing) thinking it up (laugh). "

I9. 5" Oh. Alaska, the Eskimos. And, there's people in the - side the little -
house, playing, and having fun, and dancing and frolicking, and - there's
a big storm gonna come, an' - we - you know--(voice trails off). And there's - rabbits
outside, hopping around. And I wanna go outside, I iust don't wanna sit inside here
anymore. You know, even though it's have - we're having fun dancing and everything.

It's getting to be very boring. But, have to wait until it lets up.

Total time: 39"

p

[t 6

shouldn't
- ssh-Ody

ind -- SC

I80

20, 6" Guy is prowling the -- park. And he's just - thinking - and thinking, and -
what is he gonna do, he has no money. He says - should I rob a bank, or

shouldn't I, or ius' I just - you know, I've tried to find a job and I can't find a iob, and

- nobody - wants me, 'cause I have no background or no nothing, I have no education.

And -- so the only thing for me to do, is -- go to school, 'n - get - some education,

find a little job on the side so I can - do it.

Total time: 47"

l" lsee

A 4st

RORSCHACH, SUBJECT B,

Card I
I see, first ofall, a butterfly.
And then, behind the butter-
fly is a bat, and he's coming
towards me. Then underneath
the bat, is the shape of a
woman with very large breasts.
And I see the inside of a pepper--
am I going too fast? You know
how a pepper looks, with the
seeds inside if you cut it open.
And at the top there are small
things that look like hands; they
look like lobster claws, or some-
thing like that. That's all I can

find in this one.

Total time: 55"

I8I

INTERMENSTRUUM

(EQ) Let's see, I saw lobster claws,
and. . .(EQ) Right here (DI). (EQ)
What made these seem like lobster

 

claws? Because the way they're po-
sitioned, how they're positioned to-
gether like this and they -- I just had
lobster for the first time about a week
ago (laughs). That might have some-
thing to do with it. Not the coloring
by any means, 'cause they're black.
Just their position. Now I'm supposed
to remember what else I saw? (E:
"Mm hm. ") Hm. (Pause, I5") I
can't remember a thing. Perhaps the
bird in this one. Did I re. . .did I say
wing-spread of a bird in this one?

(E: "Um, a butterfly. And a bat.")
Oh, that thing, ok, yeah, the bat.
But I. . .(EQ - location) The butterfly
would kind of indefinitely be (W)--
here's one wing and here's another
wing (D2 - wings) and this--this
doesn't work out but-- if you can
really use your imagination, these can
be eyes (Dd22)it would be kind of a
cartoon-type butterfly. And, uh, shall
I talk about that more or should I (E:
"Yeah, what-") The butterfly? The
reason I thought of a butterfly is like

l.'. .I do cartooning, like, you know,

I82

iust goofing around, and these look like
Iittle--like, you know, you could put
colors in there (Dd526), and, you know,
lust a pattern, kind of, on its wing.
And, oh, that was using an awful lot
of imagination (laughs). (E: "Oh,
that's fine. ") And then the bat looks,

I think, fairly realistic. It looks like
it's coming right at me, and these look--
like eyes again (Dd22) . But the bat's
behind the butterfly. Coming up--Iike
the butterfly would be right here and
you could see the bat coming up, but
they'd be like the same size. (EQ to
refine location) (Bat is seen as if DB
were extended laterally across the card
to meet D8 on the other side. DI and
Dd22 are included, D5 and lower 2/3
of blot are excluded.) Mm. (EQ -
determinants) In the bat? Oh, right
here it looks like the lower portion of
the body (midline area just above Dd24),
you know, the rest of its body, other
than the wings.This looks like a mouth,
but I don't know that that would be

the bat's mouth (Dds iust below Dd22) ,
I don't know about bat's mouths. Um.
And the blackness. And the way it

iust is approaching me suddenly,

'cause it's--bats can be very frighten-

ing, I guess. I think that's about all.

(EQ: What else you saw) I can't--

I83

let's see. (E: "You looked at a lot of
cards. ") I know (laughs). (Pause, II")
I don't remember if I turned this one
over, or not. (Pause, 7") Oh .' The
shape of a woman, yeah. Here are the
large hips (Dd24), and then the huge
breasts (above Dd24) and no head,
there's iust that-- no Iegs--nothing. I
didn't -- those could have been her
legs (D3), but I didn't even think of
that, this is iust--she's iust--a rather
heavy-set woman (D4). (EQ-determinants)
Now, or you mean--did it then?

(E: "Yeah, as well as you can remember. ")
l--I guess, you know I could see this
form fitting into the--the outside form
of the dress, you know, 'cause you
know, the two separate legs. Ah,
otherwise not, I don't think. (EQ)
That could be her novel (Dd27) ,

that's about all. I can't see much
else.

(EQ--remember what else) (Pause, 7")
I'm trying to think if this one's a. .
(Pause, 8") Oh, the pepper? That's
right. Yeah, those look like the
hollows (Dds26) in a--because there
are ribbings or whatever they are

inside of a pepper? Couldn't find

any seeds to speak of, there didn't

seem to be any seeds but it iust

looked like someone out it right in

1]"

I84

Card ll

Um, should I be turning these?

‘ (E: "If you wish you certainly

may. ") OK. The redness in this
one just reminds me of a--of a--
of death, somehow of--of a mur-
der kind of thing--a--l iust saw
"Play Misty for Me" (a movie)
(laughs) . Just of all the blood.
Oh, it looks like a space capsule
in the middle, and like the space
capsule is moving up, and it's
leaving, you know, the clouds
behind it. Um, in a way it looks

like--um perch. You know in

fish there's a--there's a --you

know the layers of the fish? _
That's what it looks like inside,

You know, like a fillet. And--

half. (EQ - location) I would say it's

in this--in my own mind--is shaped
around it. Little pepper--it's sides
would be--None of this would definite-
ly be included (outer portions of blot).
Go around about there. So I was form-
ing my own mind--in my own mind.
(EQ) Well, seems like there should be
a center somewhere, and that seems
like a pretty good center (Dd27) but
that's about all. (E: "OK, great.")
Oh, my memory is so poor '. (laughs)

I'm ashamed of myself.

Will you be able to remind me on things
that I forgot? (E: "Sure, yeah. ") OK.
Well, this is the--the murder, the death,
the bloody--kind of thing and--this is
also the mushrooming clouds of a cap-
sule going up, and it was a little cow--
or little (E: "OK, wait a minute--let's
take them one at a time. ") OK . (E:
’l'The murder and the death, that--was
that kind of--l got the feeling when

you were talking about it that it was

just like an overall impression of the
card, it wasn't -- it didn't refer to

any particular-") No, overall im-
pression, for sure. Um, you know, it
was like drops of blood, I guess these
looked like they dropped and

splattered (D2) . But there's the

 

 

lot

I85

sideways looks like a little calf
that is, um feeding--on its
mother, with the little ears
behind it. All's you can see

is the--the bust part of the
calf.

And, when I turn it upside down
it looks like someone's putting his
thumb down, so it's like--kind
of a negative sign, you know,
when someone goes like this
(gestures). And that's about

all I see in this one.

Total time: I' 38"

redness all throughout so it was the
whole thing. (EQ - anything besides
redness) No. No. (E: "So, if that
had been the same card except all
block, it wouldn't have-") Prob--
Probably not, no, I don't think so.
(EQ-location of capsule) The capsule's
right here (D4) you know, like there's
the--the little capsule on top in the
long part and here are the clouds (D55)
and it looks like it's shooting up with
fire (D3), you know, as it's going up
(EQ-location) Mm hm. (E: "What do
you think made it seem most like that?
You mentioned several aspects of it.
What do you think was most important
in making it look like that?") Look
like what? (E: "The capsule, and the
clouds and the fire, that whole-~kind
of gestalt that you saw?") What-What
part of this made .it. look like that?
(E: "Or what aspect of it.") Well, I
would say, before I even thought of
this or this, I saw the head, and it just
looked like a space capsule ready to
take off. (EQ - determinants) Um,
because, it's in- it seems like two
separate parts, 'n like , after--this
part would, you know, you know,

this part separates, right? After
awhile--and it looks like a separate
part, and yet they're together. And

I86

it's pointed, you know, as pointed as
anything else in the whole picture, or
anything that I had seen. (EQ deter-
minants, cloud.) It's white and it's
mostly, it's not exactly billowy, but

it's you can see that it's shooting out
from--from the force of the capsule and
oh. . .then the thing that--that doesn't
make sense is like the ground, the--the
level of the--earth is right here (at Dd27),
and so this shouldn't be--you know, this
would be into the earth '. (laughs) But,
with a little imagination. . .(EQ deter-
minants -fire) It's-~the redness. And--
again, like in the one with the blood
thing the fact that it's shooting out,
spurting out or whatever.

Now, I mentioned the Iittle--the calves
(DI). (EQ) Here's one, the mouth of
the calf and the ear (Dd3I) an' the same
thing right here. And it's feeding on

its mother, so this would be like the
nipple (D4) of the mother, and the
mother is nonexistent (laugh), the
nipple is there (laugh), but I don't
know where the mother is--And--
they're very cute - calves. (EQ) Um,
right here, like there's little crevices
here? Just the mouth, it's just per-
fect. (EQ) Mm--the ears, where
they're positioned, and--their jaw

line. It's -- my cat just had five

I87

kitties, so I've been thinking about
that, but it-it wasn't a kitty, because
it was--the jaw line was too long, you
know. (Phone rings once.) (EQ) The
darkness, I suppose. If it were red I--
I might not think of it as a calf. It
might be a newborn calf, because there's
still blood on it. Just is--a oalf for
sure (laughs) .1 (EQ-what else you saw)
No. I can see something else now that
I didn't see before. Looks like a car-
toon character with shoes here (Dds30)
baggy, baggy pants and he's got his
hands in his pocket. See, his hands
are shoved in his pocket, here. An'-
just a floppy kind of--oversize shoes
and then baggy pants; that's all. (E:
"So he doesn't really have a head that-
that-") No. He stops right here,
which is--just below his shoulders.
(Percept includes all white space be-
tween D2 and DZ .) Now--I remember,
thumbs down. (EQ) Right here (D2),
see? They're going down. It's even
got a--fingernail, 'n creases in the
finger. Cause in Germany when I

was there, you know, when you
wanted one beer, you put one thumb
up, and if you were really drunk, you
put a lotta thumbs up (laugh). I did

a lot of that, as I remember. Anyway,

it's either--you know, people I know

I88

Card III
(Subject spontaneously picks up

this card upside down.) (E: "Did

you pick it up that way?") Yeah.

(E: "It starts out this way. You
can turn it over but I want you to
have it that way to begin with. ")
(laugh)

Well, I see a bow tie, right away.

A very straight gentlemen. And,
let's see-and then I see ladies'

high heels, towards the bottom.

use the expression thumbs up and thumbs
down, and this was the thumbs down.

I didn't really notice it when it was up,
and yet, that would work too, but--
thumbs down (laugh). (EQ) No. Now
did I--l must have seen other things--
(E: "One more thing. ") One more thing.
(Pause, 2i") Hm. Oh, the fish? OK.
Like--the lines in here look like the
layers on a--just a chunk of fish (DI).
My father always fishes, and we'd get
a lot of fish, and--that's what it looks
like. Um, it isn't black, 'n --fish are
usually white. I'm surprised I thought
of that. (EQ) Yes, the lines for sure.
The coloring is off, the shape is--al-
most completely wrong. Just the lines .
But I think it's really neat the way the
fish--the layers like that. It's really
pretty.

Now, I said kidneys on this one, didn't

I? OK . ' N these are the kidneys
(D2). I don't know what kidneys look
like, but--they look like kidney beans
(laugh). (EQ) Um--l know nothing
about medicine, but it seems like
there should be some kind of some-
thing--connected to a kidney, you
know? And-they're in the shape of

a kidney, and there are two of them.

(EQ) Ah, the color, they're red. I

This
just
cle‘

higl

ltldt
port
It It
05 C

due

het

lth

lot

I89

This whole picture

just seems cIothes--and

clothing --this tie, and the

high heels. The two red

things at the top look like
kidneys. And. The top black
part looks kind of like a duck.

It looks like a rather dumb duck,
as a matter of fact (laughs). The
duck has its wing out (subject
gestures, putting her hand on
her hip with elbow sticking out.)
I think that's about all I see in

this one .

Total time: 1' 15"

I think of everything inside of me as
being red (laugh). And they look--
functional. (EQ) The redness, I guess.
And-there's a--a duck '5 head (D6) . It's
a cartoon type duck, and he looks happy.
Well, he looks dumb, kind of. (EQ) I
knew a guy once, and his--and his head
was shaped like that and he was dumb
(laugh). Oh, that really told you about
it (laugh). He just looks dumb but he
looks like he'd be easy to get along
with, I think, and, he's got his hand

on his hip - wing, on his hip, and he's
kind of, well, he's just kind of, you
know, is dumb. (EQ-location) Mm hm.
(EQ) No, the - the rest of him, that's
--that's his hip (duck is DII-Dd30).
The rest of him doesn't count - even

this part doesn't count. He's just
standing like this and his hand is about
in the area of his hip. If ducks have
hips (laugh). (EQ) Um--the reason

he looked like a duck was his beak,

and the reason he looked dumb was
his--peaked head (laugh). And then--
when I knew he was dumb, then, you
know, I think it's 'n--you know, like
the--position he might be in. And
that's the bowtie (D3). That's--

rather obvious to me. And these are

the high heels (DIO). (EQ -deter-

minants, bow tie.) Uh, the knot in

I90

the middle, which brought the material
together, and--it just--goes in here

like a tie might. A bow tie. (EQ)

Its color, you know, It's a colored

tie, and I like a red tie. And--these

are the high heels. And--they have

a leg in them, and a foot in them. And--
this is misshapen, so it--really isnft a

leg (D5). But that way--it looks like a
leg, and--the heel part is a lighter color.
Than the leg. (EQ) Yeah, the heeI--the
shoe part is a light grey, and the leg

part is a--black, so that those--the

color means nothing, but there's a
differentiation, you know, so that it
looks like he-she has a shoe on. Now,
am I supposed to see something else?

(E: "Um, let me look at my notes. Do
you see anything else? Um, you men-
tioned here a very straight gentleman. ")
Gotta find 'im. (E: "Well, I don't--

it wasn't clear to me when you said it,
what that referred to. But right after--
the first thing you said was the bow tie,
and then you said that it looked like

a very straight gentleman. ") Mm hm.

I don't know if I saw a face, 'er just
because the--the dude had a bow tie

on. Now, there I see a face, but

it's not a very straight gentleman--

this face--is like--an Af- African

face, the Negroid features, the

hi

hi

Ar

A

15"

I9I

Card IV
OK. In this I see-a--the skin
of a rug-- you know, like a sheep
skin, or something. And it vaguely
looks like parts of legs and arms,
you know, like a--like a rug
would. And, it's lying on the
floor.
And then I see something similar to
a map, kind of. It's not in the ‘
shape of any specific continent,
but it just looks lost in water,
kind of thing.
And--this looks like a penis at the

lips and this dude has a beard, and--a
head like this is probably an Afro, and
--a wide nose (D4). Hm, but that's
not the straight gentleman I was talking
about. Hm. Where'd he go? That is
really-~I mean--I'm surprised I didn't
notice that-~before. Well, I can't
find our straight gentleman. At least
not the face, maybe I just meant that,
you know it looks like that would be
on a straight gentleman with the bow
tie. I can't tell, like, you know,
that might be his coat, and that just
matches. (E: "Like a straight guy
would wear--a bow tie. ") Yeah, I

can't seem to find a face.

OK, now this is the sheepskin rug, and
I just got one for Christmas. (EQ)
Yeah, like here's the legs (Dd28), and
that--doesn't mean much right there
(Dd26), and--it's--there's - usually
kind of a line in the middle, and then,
you know, the rest of it you have to
imagine. And I thought of it as green,
because my rug is green. (EQ) Sure.
Here's the leg, and then this is the
bottom of the sheep, and those two
things don't mean anything. And

here's the other leg, and it comes

I92

top--the very top of it. Looks un-
finished, and, it's misshapen. Mm.
Over here it looks like the hair--
on--on a woman. And the lower
lip, you can see a face_--this.

You can't see the face, you can just
see the side of the head, kind of.
The face is hidden. And thereis a
white spot over the side of the

head which looks like a--it's cover-
ing something. And this looks like
ghosts. Black ghosts. There are
about three of them on each side,
and--they're just kind of huddling
there. But they're happy ghosts,
'cause he looks like he's smiling.

I think I'm losing my mind .' (Laughs)
That ghost just smiled at me '. (Still
laughing.) That's all on that one.

Total time: 2' I0"

Have you ever had someone lose their
mind, right on you? (E: "No, never

have. ") (Both laugh).

out to the side, and it just kind of goes
into-you know, I imagined that it just
went into another arm, you know, it--
just followed the same pattern down
here. (EQ)No, it stops about right
there, OK ? (Location is about bottom
VI! of DI). OK, and here was the--
(EQ) Mm - it's symmetry, you know,
the each side was equal. (EQ) Uh, I
don't think so. Now, here's the lady
with the long hair, and here's her
lower lip (D4 area.) And her face,
and um, this is what's masking some of
her. (E: "Oh, she's the--she's the
white part inside; is that right?") No.
(EQ) This is a patch or something
(white enclosed by D4). Here's her
ear. Now that's her lower lip right
there that--protruding black (Dd pro-
:jecting from line which connects
lower edge of D4 to body of blot.) And
I think--this. onId just be her cheek,
and then see that dark spot? That's
her eye. And her nose comes down
here. (E: "Uh, huh, and so the
white is like--as though it were in
front of her face, so you can't quite
see it?") Uh huh, it's like a patch or
something, and it's, uh--like maybe
she had an ear operation,like, I don't

know. She really--is covering some-

thing up. And then you can see her

I93

hair (D4). (EQ) Um, first I recognized
the hair. It just kind of--looks like
hair. (EQ) Oh, it just looked stuck
together. Kind of just hanging. Kind
of like my hair (laugh). It was dark.
When I think of hair, I think of dark
hair, because I have dark hair, prob-
ably. And she's not happy at all.

(E: "How can you tell?") Because--
well, it's an obvious pout, because her
lower lip is out and she just--her eye
has--no life in it. She's got a problem
(laugh), because she has a patch on the
side of her head (laugh). (Pause) Um,
should I go? ls that--all for that?

(E: "Yeah.") Oh--did | find--a
walnut in this one? (E: "I remember
the‘walnut, I don't remember what--
no, it's not on this cord.") OK. (E:
"Do you see one?") Well, it looks
kind of like a walnut. Yeah, like the
top of it, 'n you could follow it around
here, it would be the shape of a
walnut (D3 and part of area below it,
to make a circle.) Yeah, that looks
like a walnut, I think most of 'em
might (laugh). (E: "Are you getting
hungry?") Yeah. (both laugh.) No-j-
really. Um--maybe it's this way. Oh,
yeah the huddled--ghosts. (Takes a
deep breath) this is gonna be hard

(Iaugh)'. OK . They have babushkas

I94

on too, like a nun--Iike. And--it's this
is the--the--the hat or whatever, and
that's a nose, and then there's sort of
a-- tiny dot-:- tiny protrusion that looks
like a mouth, and the rest is just a robe,
and here's the hand of one of 'em, and
this is--the top of the babushka of
another and this is the babushka of
another. You can't see all of their
faces. (E: "Oh, so it's as if there are
many of them, and you kind of--one
would be kind of behind the other. ")

I'm sure there are three, one, two,
three. They're not malicious kind of
ghosts. This one might be, but this--

they're not mean. See, there's the
other good one on this side. (EQ)

Right about here. (EQ) None of that,
no, I'm just taking a small piece of it.
(Ghosts are in D7, extending upward
about to top of DI. Heads are bottom
point of D7, and projections from D7
toward DI. Card is V.) And just--just
this dark part here. (EQ) Um--the
silhouette of the blackness. I would
say the blackness made the most
difference. (E: "The blackness was
more important than the silhouette?")
Yes, I think so. (E: "They're--are
they kind of like--people type ghosts?")
Oh, yes. Yeah. They have faces,

they have skin and the whole bit,

I95

They're not like--s-—far out people or
anything yet. Just normal people--
that are--happen to be ghosts (laugh).
That's why the're happy probably.
They're not frightening. (EQ) Mm. . .
Just the silhouette of them, against
the whiteness. Otherwise not. (EQ -
what else you saw.) Hmm. Was there
something else to remember. (E: "Mm
hm. Two of 'em. Two other things. ")
Two other things? Holy cow. I think
I talk too much (laugh). Got a little
carried away. Oh, let's see. Hm.
(Pause, 2I") I can't see anything.

(E: "Well, there was a penis at the
top. ") Must be--yeah, it must be here.
(EQ) Here it's--it's either a walnut or
a penis (both laugh): . (E: "One of
those two things. ") (Both laugh)

Right '. Cause really there were a lot
of penis images and a lot of walnut
images, just —- y'know, because of
the symmetry, and the--long shape.
Well, this would be the head--of the
penis (D3) and then this could be the
rest (shaft is imagined in middle of
blot.) What you'd have to do is
discard all the rest of this-~beyond
this black part. Hm. Even the space
capsule looked more like a penis than
this does (laugh) . Hm. (EQ) Oh

(sigh) let's see, because of the

I96

firmness, and the longness of it, and
because it came to a head. Although
not a defined head. Did I say that it
was misshapen? (Phone rings once.)
(E: "Yes, You said, 'unfinished,
misshapen' . ") Yeah, I'm trying to--
it's vaguely there, but not--definitely--
But then--leaves more for the imagina-
tion (laugh). (EQ) It’s‘ darkness.
Probably. (Pause.) Probably think of
--you know--just it's--that has, you
know, more connotations than probably
--I realize (laugh). Um, that's about
all though. It's looks--like fleshy,
kind of. Well, you know. (E: "What
would make it look fleshy?") The--
the crev--the uh--the curtain type look,
the--smooth-type, skin type, like--
the shadowing. Too, it's not hard and
defined like something like this would
be, you know? It's more--shadow.
(EQ) The shadowing, because--the
out--there isn t much of an outline,
it's--it's--you have to put an imagin-
ary outline in to make it--a real

shape of a penis. (E: "OK. Uh--a
map. ") Oh, that could be anything
(laugh). A map. (E:"Lost in water. ")
Oh, yeah--it was right here. It sort!
of looks like South America, but not
really. (EQ) Yeah, this white place

(lower Dds29),and this is all water

I97

around it. I didn't even think about this
separate white piece, I just thought
about this one. But it's just totally
lost. Like the rest of the world is
nonexistent, and just that one little--
chunk of land, lives. And--it doesn't-
a little bit of South America, perhaps,
but it--didn't remind me specifically of
any--country, other than that. (EQ)
Mm--a map. A map in the sense that
just--since I thought--the whiteness--
I'd say, because it's--you know, the
rest is water, and that's obviously land.
And it's definitely shapeduyou know,
formed. (EQ - which determinant more
important) The color. (E: "OK .
Now--would this be--Iike, a--a map
printed on a piece of paper, or would
it be more like, if you were in an air-
plane looking down at it?") A map
printed on a piece of paper. Because
it's--it's an imaginary thing, and if

I were in an airplane I'd never see this.
It just seems Iike--Iike the rest--there's
--there's nothing else in the whole
globe--except for that. And I don't
think I'd see that if I was in an air-

plane (Iaugh) .

A 3"

I98

Card V
OK, here we see a wishbone right
away. You know, a chicken, or
a turkey, or something like that.
And then on either the left or
right you see an elephant's trunk .
It comes right to the perfect shape
of the trunk, you know, it's like
he's reaching for a peanut, or
something like that. Mm. Then,
I see a reclining beggar. You
know, a kind of beggar just wrapped
in burlap, or something like that,
reaching up. Maybe the Lazarus
kind of thing. And. .'.he's lean-
ing away from a rock--. He was
leaning on a rock, but he's reach-
ing out towards something--.Maybe
he's reaching towards the elephant
(said in an amused tone). And um.
Um. Well, the way the whiteness
comes down it looks like a valley.
And there are many, many crevices,
and it goes down into a tunnel kind
of hole at the bottom. It's very,
very jagged. Just like it would be--
next to impossible to--for a person
to walk down there. Even with lots

of apparatus. That's about it.

Total time: I‘ 29"

OK--I think I saw a wishbone? Right
here (D9) . And--the shape of that--
reminds me of it. (EQ) Oh, no. It's
extremely well defined in the bottom,
the rest you have to fit in, but that's
no problem. And--also, this is--the
inside of the wishbone is the rock, the
white-rock, that the beggar's leaning
against. Here's the beggar's head.
And his back, and his hands reaching
out, and this is just lumps of burlap.
He's just covered up Iike--the Lazarus
type thing, y'know? (Location is white
space below D4.) (EQ) Lazarus, you
know, he's the beggar in the Bible?
That--y'know, was--reaching for
Christ--or something like that? And
he looks like he's wanting something,
but not quite able to get it and--it--
as it ended up, Christ had to go t'him
to fix him up--anyway. And then this
is the trunk of the elephant (Dads29).
(EQ-Lazarus) Oh, the only thing is,
is the whiteness—differentiates from the
blackness. So that it would be the
outline, I think, that's more important.
(E: "And then the whiteness just--is
just how--how the outline happens to
be, but it's not really important. ")
Right, no, huh, uh. I guess it might
be Lloetter if he were black, and the

I99

background were white, something like
that. (EQ-elephant) He's right here.
(EQ) Yes, uh huh--not the black part.
And the shape is the important thing on
this. (E: "Which direction is the trunk
pointing?") That way. (E: "Pointing
inwards. ") Mm hmm. Because that looks
like the round end of it--as if I looked
at a trunk. And as if he's gonna grab a
peanut or--something. And the elephant's
nonexistent, just his trunk. (EQ) Umm.
Well, the curvature of it. Uh--the way
it comes into the--um, the blot, the
way it --is at the corner. I guess if it
were just floating around here I might
not recognize it. It looks like, you
know, I can--can draw the shape of an
elephant over here. Otherwise, that's
about all. Is that all I saw on this one?
(E: "Um, then you turned it upside
down and you saw one other thing. ")
(Pause) Hm. (Pause, I5") Well, I

see something that I didn't see before.

A hill with a cross on it (Dds28). And--
the shape of it--is most important. It's
very,very high up. (Pause.) Oh '.

(E, speaking at the same time: "When
you say very, very high, is that like
you would be standing and seeing it

way in the distance, or something

like that?") Yes, uh huh. I remember

also what I saw. It's--this is all very,

200

very rugged, rocky type country, like--
with a gorge here. And almost im-
possible to crawl on. You know like

if you were-well , you couldn't even
stand it there. But, you know, if—-
you were looking at it like this--just--
and you had to--it's -- it's very, you
know, there's-~there's a lot of space
involved in here, you know. (EQ)
Sideways. It's almost like this is

cut out, you know, the rocks, you
know, like you can see the different--
layers. (E: "And then the white would
be the rock part and the black would be
the space.") Mm hm, right. This is
the gorge (D8)--right here, and it
would just be--I mean it would be
impossible to get down there without
killing yourself unless you had lots and
lots of apparatus to use. (Percept is
upper outline of blot) (EQ) Just the--
jaggedness--you know? (EQ) No,

not -- not near as far as the hill was.
The hill just seemed super far away,

this seems fairly close. That's about it.

A ‘0"

20I

Card VI
Do you think I'm going too fast?
(E reassures.) OK, fine.
Um, this looks like--an animal,
and I think it's a cat, because it
has--small um, it looks like the
hairs on--the whiskers on a cat.
And, he's about ready to pounce
on somebody. I think. It also
looks like um, oh, well, you know
how Indians have these poles with
feathers on it, and at the end is
the sword, or the--you know the
sharpened rock or--whatever you
call it (laughs)--the arrowhead
or--it looks like a warrior--
warrior kind of Indiana. And. . .
Let's see, the rest. Mm. I think
the--it's kind of a claw. Kind of

hooks, kind of a trap kind of thing.

Mm. I don't know what that would
be for, but it wouldn't be good,
it would be something that would
really tear into someone or some
animal or something. It's kind of
cruel. Like a cruel way to catch
something. Mm. And, the arms
out at the side look like a rolling
pin, like you would grab it and
start to roll dough out. The pin--
the middle part isn't there, but

the handles are. Oh, and right

OK. This is--the cat. And these are
the--whiskers of the cat (Dd26). And
this is his head (D7). (EQ) No, just--
this is just the--right from here on up
(D2). And, this the head. It stops--
about at the hips of the cat. And--(EQ)
Seeing the whiskers-the shape of the
whiskers, and the rest, you really have
to use your imagination with. (EQ)

Mm hm, the longness of the body. (EQ)
And--the shape of the head. It's missing
some ears but, it's a round head. (EQ-
is D6 included?) No, no--that's not
at all. And you see no arms or legs or
tail, or even--rear end of the cat. But
you see a back, and the top of the head,
and the whiskers sticking out. Any more
questions on the cat? OK . Now this Is
the feathers sticking out of the Indian
thing. And--l don't--I didn't think

of this as a sword--er--as the--arrow-
head part, I just--put in the rest, you
know, since there's this line here. And
that--you just think of it as a straight
pole, and the feathers sticking out

like the dude's going to war (D3) . (EQ)
The jagged ends of the feathers. Well,
the coloring too, because it seems like
they'd dyed it--you know, darker here,
and then--(EQ) The jagged the--the

shape of it--was more important. (EQ)

202

in the middle it looks

like a furrow. You know, if
you've ever hoed beans or
anything. Just looks like it's
gone in just a few inches,

enough' to put some seeds in.

Total time: 2' 7"

I don't think so. Here we have the claws
or the hooks, or whatever they were.
Just--some--like a trap kind of thing

for an animal or--person, that just,

that really-- (EQ) It includes--these two
things too, kind of a--just that much of
it (Dd2I+Dd28). And--just like, you
know, you could be walking along in a
forest, and-~and--jamming the top of
your foot there, and just be able to rip

it open. Just seemed like a really cold
and cruel thing to have. But it's there
(laugh). (EQ) No--just the shape. The
outline of it. (EQ-what else you saw.)
(Sigh)--Hm--the rolling pin? OK, here
are the handles (D9). And--the rolling
pin is nonexistent. It's in there--it
should be bigger, you know--than the
handles, but--the handles were there
(laugh). (EQ) The shape. (EQ) No.
Shadowing has nothing to do with it.
(EQ-what else you saw.) (Pause) Oh,
yeah, the furrow like thing. (EQ)
(midline) Mm--it goes--yeah--yeah,
using your imagination, this m--this part--
from here to the top--Iooks most--just
the shadowing is just perfect. Shape--
well, there's no real shape--and then--
well, I've planted before, and-~that's
what we had to do. N' you'd put the
seeds right in here.

A 3"

203

Card VII
This just looks very void compared
Mm it looks like

there's something missing. Mm-

to the others .

like there should be something

in the middle of it. On either side
there's-~a hollow that looks like a
mouth, or someone screaming, or an
animal howling, or a baby crying.
Seems to me he's crying because
there's nothing there. And on

either side also, there's a little
ledge, and it looks like a seat, some-
thing like a--a berth or something on
a ship. . .that you, you know, pull
down from the wall and sleep on--or
a train or something like that--| was
on a ship once that had--those kind of
berths. Looks like they should spring
back any minute now, and you're
afraid to sit on them. And it looks
like this whole thing is just gonna fall
apart. And the top parts of it are just
gonna topple over--doesn't look very
stable at all. It looks lonely, almost
--its--I don't know, it looks just-
just too sketchy almost. And then at
the very top I see a bird, with a
rather wide wingspread. It's flying
toward-~toward me. Oh, and I also

see a walnut. Just something like the

pepper was, you know? There. It

This was the empty one that seemed so
lonely because it's just so scattered,
so--nothing to it and these--this is the
mouth of the--thing--that--was holler-
ing, or crying, or--growling, or what-

I think

it most looks like an animal. And the

ever. It would be an animal.
shape was what made me think most of

it as an animal. (EQ) Uh, well the
coloring too, because it's darkest around
the mouth, like--the redness of the mouth,
like it might have a lighter fur. But
mostly the shape, I would say (Mouth

is indentation between DB and Dd24).
(EQ-what else you saw.) OK. (Pause,
II") What--I saw a bird. I think. The
wingspread of a bird. (EQ) There are
just two wings here. Starting from

right there. (Just below and lateral

to DII). (EQ) Just the dark parts,

the white part kinda covers it up, but

you know what the white part looks
like--it looks like a--a skull of a--of

a Ionghom-- horn cow. (E: "Oh, uh
huh. You didn't see that before though. ")
No, not really, I saw it but I didn't
recognize it. (EQ) No, that's all.

(EQ - what else you saw) I did see
something else? Was this one the
walnut? (E: "Yes.") Gaod (laugh) '.

(E: "You're seeing walnuts everywhere

294

looks very good. (laughs) It's
the first good thing I've seen

in that one.

Total time: 2' II"

you look. ") (Both laugh) It does. You
know the meaty part of a walnut, that's
--holding it together and (unintelligible).
So the shape of the middle would be the
most important thing for the walnut.
Ah--although the coloring is excellent.
(Walnut imagined to surround D6.)
(Pause, I8") Hm. Isaw something else,
right? Right now this looks like motors--
motorcycle handles (Dd2I) . The one
where the clutch is on one hand, the
brake is on the other? Or the gearshift,
or whatever. Oh, that's the clutch
(laugh) . Anyway--they're motorcycle
handles, 'cause I always--pretend
(laugh) . Um, the shape of those most
make them look like motorcycle

handles. Saw something else, 'ey? I
wonder where (very softly). (Pause, I3")
Hm. I think I'll have to give up.

(E: "Um, a little ledge, a seat, like

a berth on a ship. ") Oh, yeah, that

was also a--motorcycle handle. It's

like you just--you know, if--there's a
spring--unsprung, this little thing would
fit right in here. (EQ) Mm hm. And,
it's the shape of those. (EQ) No.

(EQ) It goes into about where this goes
in here (Dd2I). Or the way this goes

in here. I didn't like this one. (E: "No,

you--felt like it was gonna fall right

apart.") Yeah (laugh), right.

8"

205

Card VIII
Mm. Let's see.
There is an otter in this one. The
otter has very long legs. There
are two otters, as a matter of
fact. One on each side. This
is very pleasant because of the
coloring. Its very, very pleasant
coloring. Just a soft kind of color
if you were to just describe it--
the blues, and the pinks and
oranges. Um. It reminds me of
the sky in the morning when it's
orange and pink, and then in the
evening--or during the day when
it gets grey and blue, and in the
middle of the grey and blues there's
something that looks like a rib
cage. It looks like only half of the
ribs are there. And--the animal,
the otters, is crawling up the side
of the hill, and he's doing pretty
well, it's incredible (laughs). And,
right in the middle there's a tree,

it's a pine tree. It's not a Christ-

mas tree, it's just a pine tree.

(E: "Because of this big space in the
middle. ") Yeah, it's just like right
here's--that's not much to hold all

that up. Like it was gonna topple
right over. I didn't like that one
(laugh). I like the ones with the color.

There we go. OK, here's the otter (DI).
OK, with long legs. I don't think otters
have--Iegs that long. But this one does.
And there's one over here, too. And--I
think I saw a sunrise, right? (EQ-otter,
determinants.) Mm, just the longness of
the body, 'n the tail coming out. And
his face, the-the shadowing made it

look like an eye there, and a nose there,
and a mouth there. (EQ) No, I don't
think the color-has anything to do with
it. (EQ) The sunrise is just a-the--it
looks like rays coming from the sun, and
the sun isn't even there. At least I
don't think so. Like the level of the
earth would be here, and the sun rays
would be coming out here. Mostly the
colors. Kinda--indicated that it was
the sunrise. And the colors--generally
indicated the times of the day, like--
when the sun rose here--you know, it
would be brilliant orange and then turn
to pinks, (D2) and then into blues (D5),
and then at night it would turn to grey.

(EQ) Yeah, moving from the bottom

206

and, there's a snow bank in

front of it, indicated by the

blue and the light blues. Um.
Now this really does look like

a bird. Looks like the hollowed-
out eyes and the beak, and it
doesn't show a wing-spread or
anything, just the head of a

bird with very very hollow eyes
and a long book. And he's just
sitting there, you know, he's

not flying or anything, just sit-
ting there. Kind of like an owl.
Bird that you think of just sitting
there--being wise. There. That's

it.

Total time: 2' I0"

to the top. Now, the tree--is right
here. It's not a Christmas tree, be-
cause it's not ornamented, it's just a
pine tree (D4). And--this can be kind
of like the um--y'know, the base of
the tree. And this is piles of snow,
like some--snOWplough man just shoved
it up there (D5). And the greys and
greens and blues, indicate--that--well
--both the shape and the color, it's
hard to say which one is more, uh--for
the tree I would say, the color--'er the
--the shape, is m-more important, for
the snow, the color is, because it looks
like--uh, just the whites an' the--greys
of snow. Did I see anything else?

(E: "Oh, yes, in the middle.") Isaw
something in the middle? Oh, yeah,
the ribs. Here are three little ribs (D3).
And they're very frail. And it's the
shape that made me think of them as
ribs. And--l saw something else?

(D: "Mm hm, the very last thing. ")
Hm. (Pause) Oh, yeah, the bird.
Now here are the hollowed out eyes.
(just above Dd23) . Two dark orange
spots, and then the white-lightness

of the beak. His head goes around
here, into a shoulder (Dd23 is forehead
and beak, rest of bird head is darker
center of D7.) I bet you're so sick of

looking at these. (E: "No, because

A 3st

207

Card IX
l see-a sunrise--again, probably
because of the colors. And, I see
the --a torch, you know, when
you're soldering something--er, not
when you're soldering but, you
know. With flames shooting out of
it where you have to wear the mask
and the suit 'n everything. And.
Hm. Oh '.

very fat man or a pregnant woman, I

I see-It's either a

think it's a fat man. And--he's kind
of a misshapen man--a--you just see
his tummy, it's very, very big--it's
probably from beer. And he's leaning

backwards. And wow. The--green

you know, it's so interesting, everyone
sees something different. And so I
never know what I'm going to see that I
never saw before. ") (Laugh) you have
repeats, though, don't you? (E: "Oh
yeah, sure. But I always have new
things, too. ") Uh huh, OK. (EQ) I
would say the shadowing. Because--
the shape isn't definite, and the color--
I didn't think of any s-pretty orange
bird. Just the shadowing is what-formed
it for me. Is that it for this one?

(E: "Mm hm. Did you--did you see
something else?") No (laugh), I was
hoping that was it, or else I couldn't

find it (laugh).

OK . Now here's the --the boy or the
man that's--I think it's a boy, because
he has--baby hair. That, you know,

his head tilted back in the--position to
give artificial respiration (D4). And
(sigh) well. . . (EQ) Probably the shadow-
ing--again. (EQ) No. Let's see I saw
water here. A jagged lake, correct?
It's just a--the color--is what--just is
a-- good color for water. I can--have
you ever been to Higgins Lake? (E:

"I don't think so. ") That's right, you're
from New York. Your family lives in
New York? (E:

They used to. ") Where are they now?

"No, not anymore.

208

mostly looks like--a jagged lake.
Probably because it's green.
Probably because it's jagged,
and there's a little white

island right in the middle. At
the bottom, I see a man with

his head tucked back. Might be
a boy or a man,and--he's kind of
in the position where you know
when doing artificial breathing
and you're pushing the tongue
down and placing your mouth over
his. Looks like he's dying, as a
matter of fact. And I see a--an
egg timer, you know, a--sand
watch. And the sand is coming
through it. It looks like it's in
motion almost. It's that blow
torch deal. And-it's filling up
with white sand. And I see
sections of an orange. About,
you know, three or four sections,
just sitting there. The orange has
been peeled. That's about it.

Total time: 2' 30"

(E: "Oh, they're spread all over the
country. ") Oh, (laugh) sounds like my
family. Mmm--OK. Now--did I see

a blow torch in this? (E: "Mm hm. ")
Yup. -- Like here it's-~it's the--the
hot, the flames, er whatever it--it
certainly isn't the right color, so it

must be the shape (D5). Except there
are blue flames (D58), and it's--shad-
ing out right there. And like the guy
would have to have a mask on, cause it's
intensely hot. Oh, an'--oh--any more
on that one? (E: "Well-I'm a little
confused about the color. It sounds

like you've decided it can't be the color,
but you sorta still feel like it is the
color. ") Yeah (laugh). Well like--hm.
lt's--it seems that it would be more--
oranges 'n stuff, and this is only--lights,
and blues. Well--l'm tryin' to think of
whether the shape or the color made
me--decide that that was a blowtorch.

I would say the shape. (EQ) A lesser
factor. Because--after awhile I thought,
oh, well, y'know, intense heat, maybe
the blueness, or something would have
to--But that was after I decided it was

a blowtorch. And here is the fat man's
belly--right there (Dd28). And it

isn't a pregnant woman. (E: "Is the

rest of him showing, or just the belly?")

(Lateral edge of D3, at about the level

209

of D7) Uh, well, here's the back of his
head, and his face-ml s-—you could sort
of imagine. (EQ) Mm hm, right and his
chest comes down here and into the belly.
And-~his leg going down, and that's all
you see of him. I thought at first this
might be a hat (top of 03), but it was too
for forward, it just wasn't a hat. (EQ)
Mm-it looks gross. It looks, y'know--
he just should exercise (laugh), he
shouldn't drink so much beer. That's why
at first I thought--a pregnant woman,

and then I thought, it‘s just not beautiful.
And I think of a pregnant woman as
beautiful and a pot-bellied man as not
(laugh). So it just--oh--it just is kind

of disgusting--but it's kinda cute if it
was a cartoon type thing, y'know. So
the shape--was what made me most

think of it. (EQ) Not the color. (EQ-
what else you saw) I'll try it this way
(softly) (V) . (Pause, 23") Hm. (Pause)
There's just one other thing? (E: "No,
there's several other things. ") Really?
(E: "Mm hm. ")--(E: "You spent some
time on this card. You like it, I guess. ")
All right. I do like it. I just can't
figure it out. Did I think of a sunrise?
OK, welI--it's just because--of the——
the way this--the colors are soft but

kind of bursting. This looks like the

edge of the world (thin orange line

2I0

just below Dd25) And I'm kind of-- view-
ing from the rear, you know. All the
people over there are watching it come
up, and we're watching it--come over,
you know kind of? So this would be the
edge of the world. And it's just creep-
ing over there. (EQ) No, no, it's just
this one part (D58). (EQ) Ah, I think
the edge of the world, so it would be
the shape. I don't know where I'm gonna
get all these other things '. (laugh) Hm.
(Pause) There's the fat man (to herself) .
--Oh, yeah, the egg timer. It's it goes
in here, and here's the bottom of it ,,
and--see it's white--so it's been filling
up, and this is more of the grains coming
down here (D58). And then it just kind
of goes out into nothing, so whatever
this--you'd have to use your imagination
to have it come down equal-proportions.
Um (sigh) color or shape, I think shape--
is what reminded me most of an egg
timer. Because it just curves in so easily.
(EQ) Mm hm, because it's white here.
An-- and--the shape here also, because
just there's a stream of--of salt coming
through, you know. There's our egg
timer. (Pause, 4I") It's awful. I

can't find anything. (E: "You did
mention the white island, in the middle

of the lake. Now--when you talked

about the lake just nOW, you didn't

2II

mention that again . ") That would be
right there (Dds29) . I just forgot it.

(EQ) Oh, the color--cause the color is
different from the lake. --Not--because
it's white, but because different from green .
You see? (EQ) No, but being that it's

a different color did. (EQ) Right, mm hm.
(Mumbles something to self.) I didn't

see a walnut in this? (E: "No. ") Good '.
(Both laugh) How about a penis? No
penises? One or the other. (laughter

all during this) (E: "No, no, you
could've but you didn't. ") --(E: "Just
the last thing you had was sections of an
orange.") Oh year, right here. Yeah, I
had it this way (A). See there's -- it's

just like two or three sections, and it

stops about here. And following around
there. And it's already been peeled
(Dd28). And it's orange. The color is
orange. So, it would be an orange.

(EQ) Well the shape, initially. Because
there's like a curvature, and then I
thought, oh, an orange. Because it's
orange. Wow, I must've spent a long

time on this one (laugh).

A 5"

2I2

Card X
OK, the first thing I saw were
tomato worms. That you mistake
for peas when you're picking
peas, and you scream when you
get 'em (laughs). And I see--
oh, they're eating a pea as a
matter of fact. I don't know why
they're eating a pea. Maybe that's
not a pea. It looks like--the thing
that they're nibbling on looks like
a face --of an animal, with ears--
long ears like a jack rabbit. And
they're--the eyes--it looks like
they're eating the eyes, but I

prefer to think of it as a pea (laughs).

Then, it looks like there are crabs
in the corners, with lots of clippers
or whatever. And, in the very
middle of the picture is a yellow
wishbone. Would be very easy to
wish upon. Then, at the very top
there's a black thing that looks like-
in a submarine, you know, the
thing that comes above the water.
And then kinda look around in that
thing. And . . .There's a blue thing
that looks like a bridge--like at
Mackinac Island or something like
that. And--the way the blues and
the reds go in together and the way

they're formed it looks like a--

OK. Ah '.
here. And--this is like the genital part

Another penis. He's right

of him--on either side. And (sigh) the
shape was most important. (EQ) The
shadowing is very, very good. His
position is, you know, good. I didn 't
--I thought of it as a -- the--submarine
thing when it was this way (A), and

then when I turned it this way (V), it
just seems like more of a man would be
here (DII). (E:"Uh, huh. So that was
the same as the--periscope. ") Uh,

huh. That's the word (rest of phrase
unintelligible). You're leading your--
your patient (laugh). OK. Mm--that
just really does look Iikea penis.
(EQ-determinant5-periscope.) The
shape. (EQ) It's a good color, you
know. For a penis it's not a good

color. And I didn't think of all this
other muck. (EQ) I just saw the middle ,
uh huh (DI4).

done with that? Here are the tomato

OK--and here--are you

worms (D4). You see, and I thought
at first it was a pea. Or shall we just
talk about the tomato worms first?

(E: "Um, all right. ") So many things
here (laugh). Um--the tomato worms
are green. And I think that is what

made me--made me think of them as

(phone rings once) tomato worms.

2I3

vessels and the veins and
arteries connected to a heart.
The heart is very out of pro-
portion. Now I see a sea horse
in green. It's a very, very
pretty seahorse. And I see a--
looks like a turtle on a branch,
trying to crawl, and his legs
are hanging over and he's just
balancing on the middle of his
stomach, and it's just not work-
ing, at all. Mm.

And turning this upside down it
looks again like a penis. The
genitals of a man. Kind out of
proportion, but--but not too
much. And here it looks like
the hip bones, just, of the
skeleton. And, there's no
spinal--you know--nothing else,
just the hip bones, sitting there.
And. The red part looks well
defined, like--lil<e--not like
an edge of land, but more like
taffy, or something that you
formed with your hands. Just
bunches of taffy. Looks like
peppermint taffy, that's what

it looks like. There I think that's

all I can see in that.

Total time: 3' 50"

Total time for I0 cards: 2I' 40"

And the shape is very good. Um-they're
very gross looking. They have little
eyes, and--they're really ugly. And--
then at first I thought that this--this
light green thing was a pea, but then--
it had these things that look like rabbit
ears. Right here that looks like a
rabbit's nose, and those are right where
his eyes would be. And it's really icky
(laugh) . So that means the tomato worms
are eating rabbit's eyes. (E: "Kind of
an odd thing for tomato worms to be
eating. ") Yes, that's why I wanted it
to be peas. But, it looks more like a
rabbit's head (D5). (EQ) No, just the
shape. Not the coloring at all. And
then this (sigh) started to be a bridge.
But it got into being--vessels and things ,
leading to a heart (D6). (EQ) The
shape-- is what made it look like a
bridge. And the vessels thing, more

the color. Because the--the blues,
y'know, here. And--the heart thing

it was more the color, because it's
obviously not heart shaped (D9). (EQ)

It was somewhat important, because of
it's--smooth lines. If it were jagged
like this it wouldn't be a heart, obvious-
ly. OK, there's the wish bone (D3),

up there. It was the shape on that.
Color has--nothing to do with it I

would say. And, I said something

2I4

about crabs, didn't I? This crabs (DI)
with lots of claws sticking out, and it's
the shape, not the color again. And,
here's our turtle, on the tree (D7).
Here's his back, and-there's a leg

just kind of dangling. So that he's--
just barely balancing. And this is the
branch it goes on and it comes from here.
I don't know how it got there. (EQ)
Ah, the shape. But the color's not bad.
Now, did I see anything else? (E:

"I'll take a look and--see--Seahorse. ")
Oh yeah, right here. That's the worm
upside down, you see? (D4) And--it's
a good color, but it's the shape that
made me think of it. (D: "And--one--
two other things. ") OK. (Pause, 37'")
Oh, the hipbone? That's the hipbone,
it looks just like a skeleton, kind of
(D6). And it's the shape that made it
look that way. And the color--the only
thing the color has to do with it is it's
all blue. You know, if--if it was all
grey or all pink, it would be the same, you
you know. Mm. There was something
else, huh? Was it a walnut? (Both
laugh). (E:" It was the pink part. Red
part. ") Oh. Had something to do with
the shape of it--Taffy, that's what it
was, peppermint taffy. Yeah, it was--
smooth like, you know, you could shape
it into a (EQ) The color--began, you

know, and then l--made it into taffy,

vou know .

TAT, SUBJECT B, INTERMENSTRUUM

During instructions, 5 is nodding, E interrupts herself to say, "You're nodding like you've
heard this before."
S: "I - no, it just sounds like fun (laugh). Really does'. Your tape will probably run
out by the time I'm finished. "
After instructions are completed:

S: "There's - no time limit." E: "Nol' S: "But you will be timing me. "

E: "Do you have a class at a particular time this afternoon?"
S: "One-fi fty. "
E: "OK, well, it's five of one, so you have a time limit only in that sense. "
S: "OK, fine."
Card I. Should I give names, or do whatever I want? (E: "Just whatever way you
prefer to tell the story. ") OK .
I0" It's John - and - he hates music but his mother's a piano teacher and his

father's the band instructor at the high school, locally, and he's been told
that he has to learn to play the violin, whether he likes it or not (laugh), and he doesn't
like it and he is contemplating burning it (laugh), he really it's a--he just doesn't dig it at
all, he gets physically sick when he has to go to practice or go to lessons. He's not a very
patient child to begin with, but he is energetic, and he just doesn't understand why he has
to spend time learning to play the violin when he hates it and when he could be doing other
things. And so he's sitting there, see, he's supposed to be practicing, and while he sits
here his mother's waiting to hear him start practicing, and he doesn't start, and so his
mother comes up, and hollers at him, and it is just-with more than he can take, and he just
feels like the-the immediate thing to do would be to break the violin, which he does. And,
he's not exactly a hostile child, he just is - his patience has been worn out, and so he ruins
the violin, and has - he won't have to take any more violin lessons, but his mother makes

him start on another instrument. So he really didn't accomplish anything. Poor guy (Iaugh)'.

Total time: I' 35"

2I5

2I6

"I went through that myself. "
"Really?"
Yeah'. Not with violin, with piano. "

"It's awful hard to break a piano. "

mmmmm

"Yeah right." (Both laugh) "My mother was a piano teacher. "

Card 2. 7" My goodness. OK. The young girl on the left with the books is (sigh)
unmarried. And, the one on the right that is pregnant, is married (laugh).
And the dude in the middle, is the husband of the married woman, and the girl on the left
is the mistress of this man, and he is working hard because he has to support his wife and his
future child, and he works very very very hard, but he's very frwtrated at this point, be-
cause he cares for this woman, but not in the way that he cares for the other--for the mistress.
And, they have a sexual relationship, but obviously he has a sexual relationship with the
other woman too (laugh). And he is kind of a bastard, to tell you the truth. He just - he's
not helping anyone. The girl on the left is - is very lonely, because she, she wants to be
married to him, and leads a very lonely life. Except for a few times when they can get
together, and the woman on the right is very unhappy, because she loves him also, and she's
bearing his child and, and it's not, you know, exactly - thrilling experience all the time, if -
if you realize that someone that you love doesn't love you, and--as it ends, as it ends out,
they - they're living in this situation and none of them are really happy, and as it ends up,
the - uh, she's a school teacher - um, in the community, and she goes away, because she
realizes that she would only continue to be lonely and she would only continue to frustrate
the man the - the woman would continue to be lonely. So after she leaves, and the baby's
born, things work themselves out. And, uh, they're never totally happy, but they live
with one another. They care for one another - and - they like one another, but as far as
living with one another in the sense of - just a - a total thing, it - it just never happens
for them. And - you never really realize - you never know what happens to her. It's
different for her, but you - you just really can't tell how. 'Cause - no one ever hears from

her again .

Total time: 2' 35"

217

3BM. Can you tell me what things are, or do I have to figure them out? (E: "It's
up to you. ") See I don't know what that is (object lying on floor next to
figure in picture.)
I3" OK, using much imagination, this is a woman - who - right now the situation
is - she has just, um -- had a shot of something, some drug, I would say -
heroini, to make it a dramatic story (laugh), and the reason she's here, is because she came
from an extremely small town, and was very very sheltered and - if - you know, some
people can handle it, but she obviously could not. She came into a big city as a secretary,
and - couldn't handle the pressures that were put on her, and - it's the old story, she got
in with the wrong crowd (laugh), and - the whole city scene --was too much for her to
handle. There was just --too many pressures, too many problems, that she just wasn't
ready for, and - it went into an escape thing she - she started using - drugs, actually she
didn't - she started with speeding and things like this because she couldn't stand the
pressure, she need something other than just, you know, vitamins to go on. And in speeding
she got in with people that were into cocaine, heroin, things like that, and so she eventu-
ally got into that. She's extremely lonely, she's single, she - isn't interested - she's
interested in people, but she's not willing to make sacrifices like, you know, going out of
herself to find people, you know, companions of any kind, you know, women or - or old
people or young people, and she's just - extremely disillusioned. She doesn't have the
intelligence to leave, she just - can't. It's so - it's so obvious that she should leave, and
get back into - a more comfortable situation but she just doesn't, she just goes on and she
eventually is going to ruin herself, and unfortunately, not that many people will know,
or be affected by - her - her lack of success, her - situation as it ends. She she-wiII-she

will end too, very soon.

Total time: 2' 32"

2I8

3GF. I2" OK. This is a young woman. . .Um (sigh) -- let's see, I guess it's -- she's
just found - that - one of her parents has died, and - a little - forerunner
on this - her parents, um her parents were very beautiful people, but she - she for the
most part was very cruel to them, in that - she's a very obstinate person, very strongminded
person, and didn't - didn't care to listen to - what kind of advice they had, or what
wisdom they wished to share with her, and she was really a smart ass (laugh), she just -
didn't give two hoots about what her parents said, and - she never thought of them in - in
terms of appreciating them. She just kind of took what - what they had to say for granted,
didn't really listen to it, n' didn't - take time to care, and so her father just died. And
she just, at this moment has realized that she never expressed any kind of warm feelings
toward him, and it's really bumming her out (laugh), and she's trying to escape from that
by going to another room, by opening this door, but she's not going to escape from it.
She'll get over the initial hurt, you know, within - time, you know, but - it - it's
something that kind of has scarred her, she'll - she'll always feel like she - she didn't
quite - you know, live up to the kind of daughter that she should've been. She'll
overcompensate with her mother, almost to a stifling point, and - she'll eventually be
happy, you know, she'll live - she'll probably live a very happy life, and find a husband,
and probably smother him with love too, but he'll be the kind of person that needs a lot
of love, and - yet, she'll have this kind of a - a sadness because - she never really

related any warm feelings to someone who - is now dead.
Total time: 2' I0"

Poor kid'. (Laugh) All these poor people '. (Laugh)

2I9

4. OK. Oh, mmm.

7" He is a criminal. And-—a criminal in-in society's words, you know, like-

he's a - he's a kind person inside, but, um, his crime-was murder. Murder

of-a man - that was harming his wife, and this is his wife. A man that was um, you know,
of-he could have been robbing her. And-this dude killed him, because he was-protecting
his wife. But-the law says not (laugh)- the law says it was, you know, for-other reasons,
and- he's escaping from the law, when in actuality the law is probably more unjust than he
is. The wife wants him to stay and face the law because she says if-if you're right- you
know, you will succeed, but - the guy's being more realistic about it-you know, and- the
law can be wrong, and he realizes this, and so he'd just as soon be a fugitive than - than -
succumbing to the law, and - letting them - decide what - what justice is, and he has
a-a more correct view of it, but she just really really cares for him, and realizes that he
cares for her, because of what he did. So - he's going to become a fugitive. Eventually,
the law will catch' up with him, and um by then it will be too late-to really-make the law-
find a justified kind of - kind of answer to his problem, because by then they'll think, oh,
he's running from something - felt like he - did wrong, and - and - they're going to assume
that he's - guilty of - whatever crime - they - want (laugh) . They're just going to manipu-

late his Iife - and hers, because she - is involved with him.

Total time: 2' 7"

5. Um (sigh).

6" It's a tired old woman, and she's simply walking into a room - and - she's -

she seems - anxious, because, in the room--she's heard, um - it's - it's her

daughter, her daughter is in the room, OK, and - her daughter is crying. And - trying to
be soft about it, but sometimes you can't be soft about it, and the mother is coming into the
room to see what's happening. She's really - too tired to listen to anybody's problems
right now, but--what can she say, y'know (laugh) - the - the chick's - uptight. And so she
comes in, and-she's-going to- try to see what's wrong with the daughter, the problem with
the daughter is that - um - she has - um - been in a long term relationship with a - with a
fellow, and um youknow for three years, and he has decided to leave, when really he was-

he was- kind of a knucklehead after all, and it was kind of a good thing, and this is what

the mother's going to tell the daughter, and eventually the daughter sees this, but right

220

now the daughter just her whole world has just come crashing down, and the mother's
anxious for her, but - the mother's - of course, older, wiser, understands more, can - can
see further ahead - than the daughter. And the mother can comfort the daughter, and can
- come even closer to her than she has ever been before. And - the daughter becomes

more successful than she has ever been. This is a good one (laugh).
Total time: 1' 49"

Um, do you think we'll be able to finish these? (E: "I think so. ") OK.

6GF. 9" Now, this lady is waiting in the room - to go - (laugh) - this is really far
out - on "The Dating Game" (laugh) she's a little old fashioned, but -

and she's really kind of - nervous about it, because, well she cares, that, you know, she

makes an impression on people, and this is the old-backdrop TV dude that, you know,

really - is kind of a -- know it all kind of person, and he's trying to be cute and he's trying

to say, c'mon chick, it's your turn, and she really doesn't want to go on, because she's -

she's kind of a shy, retiring kind of person, but she knows she has to go on, and so - she's

anxious, but kind of (sigh) - anxious to get it over more than anything else, and so the guy's

coming in very - smoothly and saying, all right, baby - it's your turn to come on, and so

when she goes on, she's nervous at first but sh-y'know, it's over - very quickly. And it

was successful. That's about all (laugh).

Total time: I' 7"

7GF . OK .

8" Now this is a m - a maid - or - kind of a governess kind of thing, and this

is a very, very -- "poor little rich girl", you know, kind of - her father

just has millions of dollars and - and not much time to spend with his little girl. And -
she's kind of - she's kind of -- clinging to things like dolls, and things like - oh, oh -
you know, material kind of things, hoping for - a kind of peace of mind that her father
has - never been able to give 'er. Her mother is dead, and her father has promised -
promised the mother before she died that he'd never remarry, although he really could,
and he could make a successful second remarriage, but - he just won't. And the governess

is a tired, old lady, fat old lady - that tries to help the girl, tries to love 'er in the best

22I

way she can but - she's just not in the position to. And - both the governess - and the

little girl are very frustrated - and and they're both lonely - in their own way. The
governess is Swedish, and - she'd like to go back to Sweden, you know, she'd just like to
say screw it to the United States and just leave, but she can't, she has no money. This is
the only way - she can get money - and - the little girl senses this frustration in the govern-
ess and can't feel completely at home with her, and so she continues to cling to material
things, the governess continues to live there, the girl grows up an extremely lonely person.
Doesn't - doesn't do anything drastic, you know, like - she's not a little snot or anything,
she's just very, very lonely. Eventually she finds a person, and a groups - of people that
can make 'er feel - less lonely, but she always kind of resents her father for not havi ng

the time to spend with her.

Total time: 2' 4"

8GF. 3" Now, this is a person -- whose - whose love is - is kind of - well, he's far
away, but - inside of 'er he's very real and very warm. It's kind of just a
truth that she knows, y'know that they love one another, and it's - it's obvious, but it's
- it's sad because 'es away for awhile, and'e won't be back for awhile,he's probably -
like in the service, something like that. And now she - she has to keep their home until
he gets back, and - care for the children, and - she has an awful lot of responsibilities,
but the only reason she's really ready to accept these responsibilities is because she loves
'im just so much, 'n that - he is her - entire life, and - she is It“: An' - oh, she's just
kind of dreaming of when he'll be back, and -- she's not exactly worried about it though,
you know? She's not - she's not uptight about it, she's just kind of waiting - she wishes
it could be different, but she knows it can't. And so she's perfectly willing to accept it.

She's very very patient and warm person, and she - will lead an extremely happy life,

and so will her children and her husband.

Total time: I' 23"

222

9 GF. OK .

8" Well, this is the story of the jealous sister. And - this sister is younger -

this is such a rinky dink story (laugh), everybody knows - and this sister is

older, and it's traditional within their family generations that the oldest gets married first,
well - um - this young lady - found someone that wanted to marry 'er, and they were very
much in love, and this young lady just wasn't, you know, found no one that was interested
in her, and so - um - their marriage was being planned, and she was just insanely jealous,
and so she planted a letter - in one of her fiance's books, that - was - a hoax, that - was -
supposedly written by the younger sister to another man saying,you know,l'll meet you here,
then, because I love you so much, can't stay away from you thing, and it was a - mistress
type situation, and - just - now - the fiance found it and told her - about it and said,
everything's off, just forget it, just get lost, you know, and she - is just - kind of discreetly
overjoyed that things are ruined for her, and she is - she's really uptight (laugh) you know,
she doesn't understand what's going on because sh - she's been faithful. She tends to be
kind of a bitch, but so does she. She's a bitch because she has everything she wants, and
she's a bitch because she doesn't have anything she wants. So they're both very uptight
people, and, uh -- justice will - prevail, probably. She'll never get married, but then
she might not either. But - she'll end up - less happy than her - because just - the kind of

person she is - she is more bouncy and lively.

Total time: 2' 4"

I0. OK .
6" Now this is a very old couple. He must be like - oh, very old - seventy-five
or something? And she's probably seventy-three. And they've been married
for a long, long time, and - it's just a moment, you know, just a moment in their lives,
that they've just taken to share with each other. And they're just being very warm, and
very loving. And, they've accomplished many many things, they've just - they've had -
'four kids, and - and, they're all successful in their own way, and they have - you know,
like ten grandchildren or something, and - they have - a speck of life left, and they're
really - they're really happy that they're both still around. And, they've both worked
today. He's a clockmaker and she - she's an excellent - homemaker, and they just had
dinner, and they were just - kind of going to settle down, just to spend the evening to-

gether and he just stopped, and just held her, and he just told 'er that he really - really

223

really loved her. And it was really a beauti . - beautiful moment, it was just - this
whole thing just took about - two seconds, but - it just - was a Iifetime's worth of caring

- for both of them. And they're both very happy.
Total time: I' 27"
At this point, further instructions are given for cards II-20.

II. Hm.

6" OK. Trolls - live here, and trolls they're - they range right about, mm--
three feet - tall, and - they're ugly, but they've never - they're ugly to

them, but we would be ugly to them, no - they're ugly to us, but we would be ugly to them,
see, and they have warts, and large noses, and ugly teeth, but - but they're pretty to each
other, you know. Actually, the uglier they are, the prettier they are to themselves, you
see? And - the uglier we are, we would be prettier to them. And so - they're really
pretty people, and - they're happy people, extremely happy, they're happier than any -
human race - I've ever known of, and they way they get around is they slide everywhere,
on their rear ends, and they have special rear ends (laugh) they can - they can afford to -
slide where they want, and see right here - they come sliding down - this chute, and
that's how - they live in there. And it's mucky, and - it doesn't smell good, but to them -
it's great. And, so they slide down there, and they come out, and they pick mushrooms
for a living, and they eat mushrooms, they can make mushrooms - with their machines -
into clothing -- and they have mushroom coats and mushroom underwear, and - they - play
cards with mushrooms, they - everything is - around mushrooms, you know? And so - the
problem here, the reason there are no people - in this picture - is because there has been
a mushroom blight. And obviously, with a population that thoroughly depends on mush-
rooms - they're dying out very very slowly. But they're really being happy about it,
because they believe in mushroom heaven. And so it's - it's really OK . It's, you know,
it's kind of a hassle - because, you know, fewer and fewer people are - around, but -

they're all gonna end up in mushroom heaven, so it's better, actually.

Total time: I' 56"

224

I2F. Oh, I've seen this picture before. Let's see.

II" This is just the foreshadowing, of - what the - person in the foreground will

be like - when she grows old. And - actually, it's just-it's just perfect ,

because - the woman in the foreground is so innocent, she hasn't been through anything,
she has a lot of knowledge but very little wisdom, and the chick in the background, is --
not at all innoc ent (laugh) she's just been through everything, and she's really diggin' it
(laugh). And - the woman in the foreground is saying, I'm never going to be like her.
And - the woman in the background is just chuckling, because she knows - where the woman
in the foreground is going to end up, because this is a - in - kind ofa ghost like thing,
you know, she's just waiting until the - woman in the foreground becomes this. And so, she
leads the life, you know, what is it, fifty years, or something. She becomes this woman
and then - this woman becomes someone else, and it's a pattern, you know, like there is a
person - not yet conceived, and not yet - born, that will take this person's place and this
woman - goes into - an after life thing. And so you know, there's a whole stream of people
involved here. They're all women, though. So - a person not yet conceived will take her

place in twenty years. It's a pattern.

Total time: I' 33"

I3MF. 5" OK. Now this is an artist, and he's been working on his statue. This is

his statue. And, um -- he's really, really tired, because he's been working
all day, and, um, he just can't even look at her anymore, he's sick of looking at this statue,
he's so sick of making it. So now he's going to go out, and - get a drink, and relax for a
while, and - come back. And - what he's decided to do - to the statue is-make - an exact
replica of this on the bottom, so it's like - there's no trunk to the stame, it's just two heads.
And - he's got half of it done, and - he's going to go out and get a drink, and then he's going
to come back and work until he finishes it. He's extremely tired, but he works best under

pressure. That's it.

Total time: 60"

225

I4. OK.

I0" This is in a summer. This is one summer out of this man's life. And it's - it's

a most unusual summer, he's - he's been a totally different person this

summer than he's ever been known to be before. All the other times he's been extremely
conscientious, an academic, intelligent kind of person, uh - very particular, about what he
does and where he goes and who he's with, this summer he's just - completely - f - freaked
out. He's tried everything he's never tried before. He was a virgin before this summer, and
now he's no longer a virgin. He tried drugs and - he - he tried getting drunk, he had
never been drunk before. He tried not reading a book for a month. And he did. He tried -
he - s - stopped shaving, he's - beginning to grow a beard. He was never a religious person
before, and now he's going to church more often. He - let's see -- oh, let's see -- he's just
showed - just completely different interests than he ever has before, he's never had artistic
interests, and he's now he's listening to um - hard rock instead of Beethoven, and -- oh,
he's kind of totally freaked. He moved from his, um - townhouse, into a - commune type -
area, and - he's just trying it out, and right now he's just kind of contemplating what - what's
going on inside of him, what's going on outside of him, and - he - he's tried it, but he hasn't
- he doesn't have the knack of staying objective, and he's very disillusioned, and, as soon
as - whoever took this picture took this picture, he - jumped out of the window (laugh).
'Cause he had never tried that. And so he tried it and —- he killed himself.

Total time: 2' I8"

I5. Now, hm.
12" This is - the second coming of Bert, and this is Bert. And Bert - was wander-

ing around in - the graveyard one day, and some - he didn't know where he
was, he had no idea. He had just -- OK, he had been in a - on a - tripping or something,
or he had been - hypnotized, and - he was put in place, where - no idea where he was,
and - he was standin' there like this, and he's really - he's a really together person, he's
really a nice guy. So all of a sudden, a group of people come up, and they say, it's Bert'.
It's Bert '. And, to them, Bert is Jesus Christ, and so they thought for sure it was Jesus,
and they just - had never known anything else, and they just knew it was Jesus, and they
treated him like Jesus, ah, except they didn't crucify him (laugh) but they just thought -

our savior - this kind of thing, and Bert, you know like he's - an accountant in New York

226

City - an' he's - he's going - he's just totally flipping out, he just can't believe it, Here

he is, he finds himself in this graveyard and people think, oh, he's risen from the dead, and
so -- they - they claim him to be Bert, and they - celebrate the second coming of Bert,
which is like a Christmas, and - they give him presents, they treat him royally, and he's

just freaking out. He - at first he tries to explain - that he's not Bert, you know, and they
say, y'know - you're wrong '. And - then he tries to decide if it's - it's still a trip, you
know, or what's happening, and then - time goes by, his beard grows, his fingernails grow,
and he realizes - that it's really happening, and so he takes total advantage of these people.
First of all , because they won't accept any other explanation, and second of all, why not
(laugh)? And so - the rest of his life is just - wow - total pleasure, he's just - really en-
joying-these people are giving him - everything he wants - all of the food, all of the kind of -
material needs he wants, he - you know, has all the - everything, all the women he wants,
all of the - the caring he wants, all the mansions and money, jewelry - everything. And --
then it starts to hassle him. And he starts to wonder what his friends back home are doing,
what's going on in their heads, what about the chick he left behind, you know, what about
the people he really cared - for, you know, making love - wasn't making love anymore, it
was - you know - going to bed with so - and - so, and he could have what he wanted and -
it was beginning to destroy him like - in - little ways like in - he was getting fat became

he was eating too much, he wasn't exercising any more. H is mind was falling apart, he
wasn't reading anymore, he wasn't - using his mind, except to, you know, find out how to
get more from these people, and - it was just destroying him, and finally it just totally
destroyed his mind, he just - totally - lost his - concept of what — loving was, of what
sharing was, of what giving was, and - he just became a hermit and this -- I guess, is model-
ing Bert - after he came back - to the graveyard, when he became an old man. And - he
returned - to what he had been, you know, to - to New York City as an accountant, you
know like - what was it fifty years later?-as a bitter, extremely bitter, old man. And, um,
nothing was the same for him, you know? There were - had been - a whole new - system of
transportation, you know, cars were no longer exist - and, um, he couldn't cope with that,
and it just so - just living was something he couldn't cope with - he died - just an - extremely

confused person .

Total time: 4' 5"

(Further instructions given for card #16).

227

16. Yeah, um. OK.

4" It's um, a cottage. And it's just a cottage, it's not a - big home, it's just -

it's just barely there. Oh, it's stocked with lots of canned food, 'n - wood,

'n — has curtains, 'n it's clean, it's very clean, and it's by a little tiny lake, it's almost
a pond. And - it's very old - very very old, the wood is ruined like old barn wood, and
it's very closed in and stuffy, because nobody's been there in a long time an' -- and -- two
people approach it, and they decide .to live there, they've decided -- that it's what they
want - for each other and for themselves, and for - the children that they want to have, and
- for the people that care to visit them - and - it's a - a Walden type setting, you know, just
far away from any kind of - human - creation - and it's very very pleasant, it's very pleasant,
it's -'-it indicates a lot of work , a lot of involvement with - with just -- menial kinds of tasks,
but it's just very very refreshing, it's - it's so refreshing because it's something that - that
is totally new to both of them, unfortunately, you know? And - there is a hint'of boredom,
perhaps. Because like - the - the rowboat tied to the dock is just kind of - there and it's
not - doing anything, and it's not, you know - beeping lights, n', y'know, lights or signals,
it's not - calling out the stock market rate, it's just being there - and it can be boredom,
but it can be what - these two people are going to make it. And I think they are going to

make it something really beautiful.

Total time: 1' 59"

17 GF. Now what am I doing with this? (E: "Just-"') The same thing. (E: Continue. ")
OK. OK.
15" Uh, the world has become completely - mechanical. And - we have - a

person in charge - of making the sun rise. And we have a person in charge
of building buildings, and we have a person in charge of building bridges - bridges, and the
girl that's - looking over the bridge has - signed in to say that - this is the time - that she's
going to look over the bridge. And she'll sign back out, when she's done looking over the
bridge. Everything is to be reported, everything is to be - just totally - recorded, so that -
we never lose - the precious knowledge that we have, of what - the world has done. And -
we have records, like this whole building - is full of records - of what has happened. And -
these people - are building - haystacks with the - precise number of - of - strands of hay

in the stack. And they've - signed in, this dude has signed in, and there's a Mr. - Mr.

228

Superior somewhere, and, while someone, you know there's a person in charge of every ray
of the sun everything is - down pat completely, and - down - every movement of your body
in fact is recorded, because every person wears a gadget about this size, on his body that
records - every heartbeat, every breath, every kind of movement - totally, totally recorded,
and you have to hand this in - at a certain time, probably - monthly and - then - the
government, n' Mr. Superior - will take it, and - y'know, he will - assign people to -

you know, record this data, and um, it's very - very precise, very - everything's taken
care of. No one's slowing, no one's overweight -- everything's just perfect, you know,
people: that need braces - get braces. And, whether you can afford it or not, Mr.
Superior takes care of it. Um - you are told how many children you are to have, you are
told, um, what kind of birth control to use, you are told what classes to take, you are told
whether to take them or not, but you're provided for, you know, someone will push the
button so that the sun will come up, and someone will push it so it goes down, so you know,

no hassles (laugh).

Total time: 2' 37"

(At this point, the tape runs out, and E puts on a new tape.)

18 GF. 3" This is grotesque. Um. - This is a dummy - it's not a real person. And -
the lady is - um, so terrifically lonely - that she has to have a dummy
around. She pretends to talk to it, oh - hold it close to 'er. Uh - it's a female dummy.
And she just moved it from (unintelligible phrase). She's - oh, she just - hung up - on
loneliness. She - um - she can't seem to get along with people, not even animals. She
just - um, she can't have any kind of a relationship with a man, or with a woman, or with -
with parents, her parents aren't around this place. So she has this dummy, she - it's always
with her, constantly with her. She just lives alone, she - very seldom goes out. No one
cares to know 'er name, because she's not a - a pleasant person necessarily. This dummy
is hers, totally, and - and she puts it to bed at night, and - then she goes to bed, and one
morning, this woman woke up, and the dummy had come to life. And the woman died.
Because she couldn't bear the thought - er - live with the thought - of some - of loving
something that has life. The only things that she could ever love were - dead, unliving,
kind of things, and then - this dummy came to life. It - it was a beautiful person in - in
my terms and your terms, I'm sure just - just a warm kind, loving person. But it was living,

and - that was one prerequisite (laugh) that this woman had, it had to be something dead,

229

something stagnant, something - unresponsive. And as soon as this thing became responsive,

the woman died .

Total time: l' 59"

l9. 7" OK. This is a cozy little place in the Alps. And - - hm (st gh) - a group of
people live here. Not a family, it's just a group of people that live with
each other, And -- they um - they decided to stay here for the winter, um, they're
important kinds of people, you know - you know - or a - but they're very selfish people.
And - oh, OK, one's an owner of a bank, in Chicago, and one - is a French teacher -
or from France, a teacher - in France, and - the teacher, in fact, has - you know, like -
five children, and - one's a bus driver, and - he's married and has children. And he left
there. The circumstances were really strange, it was like in - they met, um - at a ski
lodge, and - they - all kind of dug each other, and - like there's a black poet, .from‘,.Um,
um, Harlem - living there, so there's about five people, and they just really care for each
other, and they - want to take this time out - to learn to know each other, it will end, you
know, when the winter's over, and they can get out - they can't get out now, they have no
transportation, no one knows where they are. They'll go back to their families and their
jobs, and are totally different people, but - they're - keeping all of their - their - love and
their services, kind of, their capabilities to themselves. And like - they will become
better people for it, but - right now there are people that need them now, and - they are
just ignored at this time. And they've just - centered themselves here - in - in the Alps
and they're just - they're just - taking time to know each other and (unintelligible phrase).
So -'- winter - gets over -- and, uh, they decide that they are better people, and that they
can go back - to their Chicago-bank, and their - French school - and their Harlem-poet's
corner. And, so they go back into the world, and everything is so thoroughly changed,
that um - no one knows them, no one cores. The children of the French teacher - have
forgotten who Mama was. And - here she is, a totally new person, just - revitalized or
something that she - she thinks she has so much more to give them,and yet - they have
grown in their own way - away from her. And - the five people have decided to get to-
gether again, to - share stories, and so when they get together - they come back to the
very same place the next winter, and decide - that - they found something with each other,

and they - they have held something with each other - and they seem to have - taken - the

230

word change, and put it completely out of their vocabulary. And they just live there
together, as the people they were when they came and - just disregard any other - any

other life - than this one.

Total time: 3' 19"

20. 6" OK, it's Christmas time, because there are lights on the trees, 'n it's snowy.
And in the city. Now, this man - is, um - foreign, he's from Greece, and -
he's not exactly a dirty old man, but he - he just doesn't - run around raping women, but
he - ah - he drinks a lot, he swears a lot, he's somewhat promiscuous. And - he, um, has
been bumped around a lot, he's given a lot of people things, but he's taken a lot. He's
kinda, you know -- robody special, but nobody insignificant either. And so it's - like -
Christmas, and - he's going home, he has a family - n' he's walking through the city streets.
And - he's going home, to try and find something. Something special, I guess. And he
goes home, and everybody's there, you know, and they're all hepped up because it's
Christmas eve, and so he tries to find - he goes - he leaves the banquet - he just can't
stand it, and so here he is, walking again, and he's just trying to find something. And - he
can't - he can't seem to put his finger on something, but something's missing - is really
missing. So he walks and walks and walks out of the city, and he walks - into the country.
And - he sees - something that looks similar to him, but is totally different because - this
person looks like - like I do. And this person has a face. And this person has arms and
legs. And - he's never seen that before because you see he has no face, and he has no arms,
and he has no legs. He has a - a nonexistent kind of body, you know, it has - you can feel
it, but you can't see it. And that is what he realizes he's been missing for so long. And
so -- before he was able to cope with it, he was able to get along, you know, his wife
was like that, he could touch her but he couldn't see her, you know? But now he realizes
there was something more that he just couldn't handle it'. So he ran back to the city and
started telling people about it, and started telling people about it, and they said, you know,
aw, you're crazy'. You know? And he said come and see. And so - he took people out
there - and nobody saw what he saw. He saw human beings, he saw flesh, and eyes and
noses, and mouths, and - bodies, and - nobody else with him saw it. And - so -- he - he

finally just got to the point where he - he had to go, and he wouldn't even talk to people

231

anymore because they wouldn't listen to 'im, and they wouldn't see the things that he saw.
And so - he ended up just living kind of as a hermit. He would just lie around, night
after night like this, his wife couldn't stand having him around anymore, because he just
was obsessed with the idea that people - were visible, an' um -- she could never see
anything - you know. - She obviously couldn't live with that and neither could his
children, you know. So - he lived as a hermit, kind of, since no one could see him
anyway. He just stopped wearing clothes, and see if you wear - if you don't wear clothes,
people can't see you. The only reason we can see him is because - there's something
supporting the hat an' the jacket. An' so - he just kind of invisibly lives for awhile, and
- just kind of - sort of lost his mind (laugh). Because - he kind of had to, in order to

get along without people any more. He wouldn't talk with anyone - any more, but he

has this ability to see that no one else has. And no one else would believe him.

Total time: 4' l"

RORSCHACH, SUBJECT B, PREMENSTRUUM

Card I

A 4" OK. Do I have to tell you where

it is this time, or we'll do that
later? (E nods yes.) OK, I see
hands, on the card. Like - they're
pointing upward. And - I see - the
body of a woman - the shape of a
woman, about from, ah, her neck,
to her knees. (Pause)

Hm. OK. I see the head of an

ink pen, oh, you know, ahh (search-
ing for word) India ink -type pen.
Right at the - top, after I turn it
upside down. Mm. . .(Pause, 10")

I think that's all can get out of
this card.

Total time: 1' 5"

Funny, I can still remember (laughs)

(E: "Really?") Yeah, that is weird .'

232

Here I see the hands pointing upward.
Just from where my fingernail is, on (Dl) .
(EQ) Because they're like this, cupped
(gestures). And the fingers are all to-
gether, although the thumb looks a little
big.. Like this - up to catch - a ball, or
something. (EQ) Um, the uniformity

of the color, maybe. Perhaps it has -
mittens on, that makes it look so -
closed. That's about it. OK, and down
here is where I saw the head of the ink
pen (Dd31) and, um. Looks like an ink
pen, first of all because of the color and
the shading used. Because I think of
black ink, India ink type pen. (EQ)
The shape. It isn't - extremely well
defined, but much more so than a lot of
what I saw. Now, the shape of a woman?
She starts right here, she goes around here,
this is her waist, and these are her hips,
and she stops right here, about - knee
level (middle portion of D4, from top

of Dds 30 to bottom of Dds 29). And the
shape is most of all what makes it look
like that. The coloring has very little

to do with it, because it's not shaded
very well at all. (E: "When you say

it has little to do with it, do you mean

it has nothing to do with it, or that it

does have something to do with?")

233

Card ll

3" OK (sigh).
A 7" Here I see - two thumbs pointing

up. Like giving a go sign or
something like that. And - I see

a rocket taking off. Apollo 16.
With the flames at the bottom, and
the smoke around - the sides and
then the - the rocket, is - right in
the middle of the picture. And.

I see two calves--calves as in cows
- small cows? And they're -- it's
like they're feeding or something.
They're opposite one another. And
I see - in the white part - a pair -
a pair of pants and shoes. And it's
like a - a dopey little guy with his
hands in his pockets. A kind of -
cartoonist type character.

Hmmm . (Pause)

Hm.
(Pause, 2i ")
(Bites lip.)

I think that's about all for this card.

Total time: l' 32"

Where is my imagination?

(laughs)

I'd say nothing. (S looks at card 8")
Did I see anything else? (E: "No.")
I didn't? Good (laughs).

OK. Here we have the thumbs pointing
up, is that the first thing I mentioned?
And they're right here (D2) in the red.
Can't see the rest of the hands but you
can see - thumbs. And the shape - is
what made me think of it. The shading
has nothing to do with it. The color has
a little bit to do with it. Um, and
they're real stubby. And this is where

I saw the little calves. Here's the mouth
of a calf, as if it's feeding on something
(where D7 joins D4) and then the head,
and ears back here (Dd3I), and then

it tapers off, right about at - high
shoulder level. (Calf head is D] cutoff
at D4 and excluding the bottom l/3

or l/4 of Dl .) Um, the shape is what
made think of it as a calf, most of all.
and the coloring's not too bad. Because
I thought later that the pinky - the
reddishness, made it - look new - 'n -
like a newborn calf. That's about all.
Here I see - I think I saw the - the
rocket taking off, and this is the fire
and the flames at the bottom (D3),
producing power. And this is the smoke,
circle, in white (D55), and then this is
the top of the uh - the rocket (D4),

where it comes to a point at the top.

234

Um. Both the color and the shape all
had an - a tremendous - amount to do
with it. 'Cause of the - redness of the
fire, and the whiteness of the clouds.
(EQ) Yes, if I had to, I would say the,
uh, shape was more important. Oops,
forgot this guy. The shoes, the cartoon-
type dumb character, are right here, in
the white (spaces between D] and DI are
shoes, space between D2 and D2 are the
legs) and then the bulge here makes him
look like he's got his hands in his pockets,
and he's got his pants, and they're too
short. 'N the shape, is what made me -
most see that, 'cause there's no color,
so the color has nothing to do with it.
(Pause) Did I see anything else?

(E shakes head no.) I'd start getting
weird feelings if I started seeing more

(laugh).

A 3n

><

235

Card lll
Now (sigh). Here I see - a
red bowtie, in the middle of
the picture. And then, on
the - towards the outside, I
see two ducks, facing each
other. They kinda look like
they've got their wings on
their hips, as if they were
standing like a human being.
So they'd also be cartoon-type
characters. And then I see - um,
legs, and high heels on these
legs. Two of them, on - you
know - opposite each other.
Uhm.
(Pause)
I guess I'd have to call the out-
side red things, um, kidneys.
But I don "t know what the tubes
going to the kid - well, I guess
there are tubes - going to kidneys.
Mm. (Pause, 16") (E coughs). I
can almost see a butterfly - when I
turn it upside down. In the white
part. It's - just - it's a very de-
formed butterfly (laugh) but it's
a butterfly, all right.
(Pause)
And, I think that's about it.

Total time: 1' 29"

OK, here's the bowtie, right here (D3) .
And that seems pretty obvious. And -
the color and the shape made me think of
it as a bowtie. The shape, more than
the color. Because bowties only come

in one shape, but they come in a lot

of colors. And here are the ducks (Di 1).
And here's their - wing sticking out as if
they've got their hand on their hips (Dd2l) .
And, the shape, is what made me think
of that. The color has - almost nothing
to do with it. And the shading - has
very little to do with it. (E: "Now,

is that the whole duck?") OK, the
duck stops - he's right here, this is

all you can see of him, so it's only

the - you know where the waist on a
duck is (laugh). (E: "Well, it's

hard to tell. ") (Both laugh) The middle
part of the duck on up, but you can't
see - the breast of the duck, just the
back side, and he's got his hand on

his hip, you understand? (E: "So that
he doesn't have any legs, or anything
like that?") No. And here are the
legs I saw. With the high heels (D5).
Um, the shading showed the difference
between the high heel and the leg,

but it doesn't have much to do with

just seeing the leg. Um, I guess the

shape - is the most important part on

A

8"

236

Card IV
(Sigh)
OK . Down at the bottom I see
something like a sheepskin rug or
something like that. It's cut out,
'n flattened out, like you put on
the floor. Then, hm. (pause, ll")
(E coughs) I guess I see the face of
a woman, on either side of the top.
An', it's - it's like a shadow and
then a bright part. Oh, about in
the middle of the face. Mm. (pause)
I guess - right at the top, it - um,
all of them look like this, just be-

cause of the way the ink blot's

that. Um, - here are the kidneys that I
saw (D2). The shape and the color I
thinkflare equally important on that.

Well, maybe the shape is more important.
'N - maybe the tubes lead into something
else. Like another organ, or something.
OK, here's the butterfly I saw. What
might have been a butterfly (lower portion
of Dd524, between Dd30 and Dd30). Here's
the upper wing and the lower wing, and
again, the lower wing and the upper wing.
And it's the shape, entirely. There's

no color to it, and no shading, so it
would have to be the shape. Mm

(Pause, l3") I don't see anything else.

Did I?

OK, now this is a side ofa - profile of a
woman's face, right here. (D4, including
space), and - you can't really distinguish
much of it - except - that might be her
lower lip (Dd) and this is her hair hanging
down (D4) and the same thing over here.
And this - I don't know why that white
spot is there. But it's there (laughs).

(E: "OK, so she's facing inward 'toward
the center of the card. ") That's right,
yeah, that's right. Um, the shape is
what made me think of it as a woman's
face. Mostly this part right here, looks
like hair coming down. (EQ) Well,

237

formed, where it looks like oh - ah,
the back of a chicken, or something,
a small animal, with a spinal cord
coming down, the backbone and

the - like the ribs would be out to
either side. They all basically

have that kind of look about them.
And, when I turn it upside down, I
see - on either side, a little goblin,
or a ghost. It - I guess it's a group
of ghosts, but you can see only the -
complete profile of one. On either
side, and then you can see parts of
the other ghosts. And that's in black.
Urn. And then I can vaguely see, ah -
I'm not sure what kind of animal it is.
I guess I'd call it, maybe a - small
dinosaur, or somethin' like that.
Just the face, an' the front part -

of this small - and its mouth is open,
and it's looking up. Could be
crying. And then, right at the
bottom, outlined in white, is - it
looks like a - a person like 0 Moses
or 0 Jesus type character from that
era. With a - oh it's got cloth over
the head, coming down part of the
shoulders, in robe-type form, and
it's - it seems to be barefooted or
with sandals on, something like that.
(pause ll")

And, the only other thing I see is at

because it's clumped together. Here's
the, uh, the bear-skin rug, or whatever,
the skin of - the animal, laying flat
(bottom 40% of D l) . Here are - the -
the fur around the legs, coming out

here (Dd2l‘and Dd28), this must be the
tail, in two different parts (Dd26), and
then it stops, right about there. Oh
(sigh), the shape and the shading - had
a lot to do with it, mostly the shape.
OK? (E: "What made it look like it
was fur?") The shading, because it gets
lighter and darker, and fur's like that
when you rub it. Mm. Right down here
is where I saw the bicycle brakes, or
the motorcycle handles, or whatever they
were. They're just this small little
thing (Dd coming off heel of boat at D2,
projecting toward outer edges of card) .
Just the shape, only, that did that.
Well, shape and color, because, usually
they're silver - on the - brakes on a
bicycle. I guess it'd be shape, more
than color. Ahhh. . .OK. (Pause) Here
are the goblins, I saw those last time.
The darker form right around here, and
this is the profile of one of them, and
this looks like the hand and face of
another one sticking out here, and

the same goes for this side. (EQ)

It would probably - like their robes

might go right around here, that's

238

the very bottom, and I've flipped
it over again, and now I m not
sure (laughs) whether it looked
like this when you gave it to me
or not - are like little handles
like you see on a bicycle, or a
motorcycle. Um, maybe the
brakes on a bicycle? But they're
symmetrical, that's probably why
they look that way.

That's it.

Total time: 3’ 9"

about it. So it - c - doesn't cover the
entire thing. (Area is approximately
D7, but cut off near top.) Um, is that
all for that one? (EQ). The blackness

I would say, the color, and the shape.
(EQ) I think the color, on that one.
Now, um, down here is where I saw the
urn - the figure from - Bible times.
Because of the scarf - that goes - around
the head and down, and the feet that
are, well defined, that look like, you
know, feet, instead of shoes, that might
have sandals. The shape is - the most
distinctive feature of this. ‘N the color -
doesn't have anything to do with it. (EQ)
Mm hm just right here, nothing around
(Dds in middle of D4).OK, now here I
saw the head of an animal (D8). I don't
remember what I said it was, uh -- I
think it - might be looking up and -
making sounds of some kind. Um, I
guess, um -- both shape and shading
have something to do with it, shape
more than shading. OK? (EQ) Um,
I'm thinking, um, could be a pig?

Or -- maybe it was - oh, I know, a
dinosaur '. A baby dinosaur, I don't
know - I guess mostly because of the
nose on it. (EQ) Mm htm. It stops
right there. OK? (E: "How would
the shading help it to look like that?")
Because it's - more defined around

the mouth. And like - that's the most

A

2|!

239

Card V
OK, um, I see a wishbone, first of
all, on this one, right in the middle,
towards the bottom, and then, next
to the wishbone I see a man, halfway

reclining, as if against a rock. I

think of like Lazarus, a Lazarus symbol,

important area. Because it's - it's making
noise of some kind, probably. Now, had
I seen anything else?(E looks through
Oh.

(Pause, 28") Hm. It wasn't the nipple

notes, "Yeah, one more thing .")

thing? Was it - the chicken bone thing?
OK, that must look like a chicken bone
(laughs). (E: "You're not so sure of it
anymore, huh?") No '. Because when

I - now, when I remember the other ones,
there were others that looked more like
chicken bones than this one, but, you
know, considering that I hadn't seen the
otherones, yet, or hadn't remembered
them, this looks like - I guess - mostly
just from there on up (D3 and top portion
of D5). Looks like a chicken. Probably
the backbone. And the - ribs - of a
chicken. - after you've eaten it. And
(sigh) I think it's the shading, that made
me think of that, because the darkness
right in the middle looks like the back-
bone area, and then, out each side it
was shaded a little bit, and probably
enough to make it look that way. OK?

Now this is where I saw - the nipples,
one on either side (Dd24), and - I
think it's the shape, that makes them
look most like_- they do. But I think
that the color, the darkness that made
me think of that. OK? Now, let me

240

'n, y'know, dude that was -

thirsty, or whatever. Leaning back,
away, from standing up. And, then,
I see an elephant's trunk, on the very
outside, of the figure. On both sides,
again. And. At the very top, it's
probably because there are two of
them - it makes it look like - the
nipple of a woman's breast. On the
very top. It looks like she's laying
down, and you can see it, you know,
that - 's what's standing up.

Uh, hm. The ah, this kind of looks,
oh, I see, yeah, this is like - at the
very bottom when I turn it upside
down, a gully. At the very bottom.
And, you know, it's rocks all the
way down, until you get to the valley,
and in the valley, (clears her throat)
there is - a hill (clears throat) with -
urn, it looks like a cross on the top,
or some kind of - I wouldn't say a
statue, it'd be more like a cross. This
is in the gully, of that - you know,
where all the crevices were down,

it's very uneven until you get to the
bottom, and then it's smooth. And,
finally, I see, what looks like to be
a bowlegged - pair of legs, like -
oops, looks - well it's knock-kneed
at the top, and then the legs bow out.
OK? Like the knees are shoved

see. Here's the man reclining against the
wall, or whatever, and he's reaching out.
It's the shape that's - just that on up, in
the white part (white space below lower
edge of wing, from D3 to outer edge of
Dd23) - it's the shape that most made me
think of it as a man, er as - what I thought
it - if it was - as of, whatever (laugh).
Um. .“.The Lazarus figure. OK. And here
I think I said wishbone. OK, here's the
- the wishbone. You have to imagine
that it ends up here (D9). And - the
shape, is what made me think of it as a
wishbone. And the same for the -
elephant, '5 just the shape, is what made
me think of it as an elephant's trunk
(Dd529) . (Pause) OK . Here - it starts
way up here, on either side. And all

this is, is just a - mountain-type, you
know, all the rocks and - rubble like
that, coming all the way down here,

and - here's the gully. And in the

gully is a very smooth-looking hill,

with a - cross on the top of it. (White
space above blot is the figure, blot is

the ground . Whole upper edge of blot

is used, in V position. Hill with cross

is Dds28) . The shape is what made me
most think of it as rocks. (EQ) Mmm. . .
Oh, considering - just saying - just -
this seems superficial, but saying all

this land is flat in here (between S and

A a"

24]

together, and then - she's -

well it's a very awkward look-

ing leg. And the feet are kind of,
um, rounded off. They don't, you
know, they aren't obvious feet. ,
Because it looks like, you know,
these knock knees or whatever,

you can imagine them as being feet.

Total time: 2' 29"

Card VI
Now (sigh), here I see, ah, at the
very, very top, a cat's - head.
And - it's got the feel - er - not
the feelers - the, uh, whiskers,
stickin' out, two on either side, like
a cat has. And in that same, um,
area I see a Indian - oh, boy, I
couldn't remember before - it's like
a s - ah, a s - a spear or something
like that and they put feathers on it,
as if in war. Becuuse of the - what
goes out look like feathers and, al-
though it's not in color, it - looks
like there could be different colors.
It's - different - colors of greys and -

and black. And, again | see, the,

blot), you'd be like a mile away. (EQ)
Right, in the distance, definitely, uh
huh. OK. Hmmm. Did I seejanything
else? (E looks at notes, "Oh, let's see

. . .one more thing. ") Oh, boy, I

didn't s - here they are. I said bowlegged
to begin with, but then, it's more knock-
kneed than bowlegged because this is all
it includes (D8). Here are the knees,
and they're knocking (at point where

D2 and D2 meet), and then they go into
kind of a - rounded off foot, not a club
foot exactly, just - undefined. And it's
the shape that makes them most look

like legs. That's about it for that one.

OK, first thing I said was the cat's head.
With - what I call feelers - or whiskers.
The head and whiskers (D7 and Dd26).
And - it's the shape that most make it -
makes it look like a cat, although the
shading has something to do with it,
because it's irregular. I'm thinking of
something like a calico cat. OK?
Now, included in the next one - is

the cat's head, which now is like the
staff or the sword or the - spear of an
Indiane - warrior (D3). With the
feathers coming out - below the spear
on either side, and then it could be

different colored feathers, because of

the shading differences. First, it made

242

 

um, handles as if on a motorcycle, me think of a spear because of, um, the
like when you- do the clutch or shape. But the more I thought of it, those
rev it up, on either left or right had to be feathers, 'cause of the shading,
side. OK? Now here are motorcycle handles
(pause) Ahh, let's see. At the again (D9 and D9). One's the clutch,
very top, I suppose you could say and one's the accelerator, I don't know
those were like uhm, horns, on a - . the difference (EQ) Because they look
buffalo, or something like that? rubbery (laugh). (EQ) The shading.

If buffaloes have horns. A water Like - you could go like this, it might -
buffalo, maybe? And they kind give a little bit (gestures squeezing).

of curve around, like they might And - well, the shape, too. (EQ) Well,
be on the top of a an - a big the thing is on a lot of them I saw motor-
animal's head. cycle handles, but this looks most like a
Mm. That's about it. motorcycle handle because of the - shad-

ing. They look more rubbery. That
Total time: I' 33" doesn't give you (words are lost in laugh).
Oh, well, let's see. Here I saw the -
horns of a - beast (Dd21) . What kind of
animal has horns? A water buffalo?
(E: "Yeah. ") Some sort of buffalo. OK ,
that's what I said, I just couldn't think
of -- (E: "I think all different kinds of
cattle have horns, don't they? Buffalo
and cows and things?") Yeah, yeah.
OK, good, I'm safe (laugh). Ahhh. . .
(EQ) No, I wouldn't even say the
shading or coloring. Just the shape.
Now was there something else? (E: "No. ")
Mm hm. (E: "Well, wait a minute. . .
Yeah, I have something else right h - no,

that's part of the - that's part of your
horns, yeah'. ") OK (E: "They curve

150/);

flfl/b/lh;

l29/ah’ fie

/Mfl :33, an

a: x7raaf/779 or
and ‘ ‘0“ can , .
YOU know: yOU

the re“
0h 5

Urn ~ to": “‘3‘

' ' égé:<fi_3—l

eya r

M‘s)

It, at

/ tm,

 

243

around a big animal head, but the animal
head isn't really part of the - ") No,

hm mm.

Card VII

A 4" Hm (Sigh) Now, again I see the, OK, here we have the thumbs up signal,

uh, the thumbs up sign. With the

hand clenched, and then the thumb -
pointing upwards on either side.

Below the thumb, when I look again,

I can see, an animal's- mouth opened
as if roaring or something like that.
And, you can't see - behind the eyes,
you know, you can just see up to the
eyes, the rest of the head isn't exposed.
Um, mm. Oh, I know what that looks
like. I
The inside of a walnut. And many of
the ink blots look like that again.

Um , and then out here I see a motor-

That - this looks like a walnut.

cycle - handles again. ,

Hm. OK, now I see, um, must be a
pirate, because '5 got - a hat on,
almost a three-cornered hat, it's -
like a triangular thing, 'cause it's
pointed on either side, and he's got

a - a blouse or a sweater on. And
then his shoulders are very s - ah,

very straight. Almost cornered. (pause)

Hm.
I think that's all lsee.

Total time: I' 43"

only this time it includes, like - just as
I'm pointing. Um, this - this - the -

hand is clenched, like - over here, and
then the thumbs are going up (DI). The
shape is most important here. The shading
has something to do with it though, be-
causejit's as ifa - shadow is cost, you
know, on the far side of the - whatever.
Mmm. I might have seen .- the motor-
cycle things again? OK, purely by shape,
because they were just - sticking out like
that on either side (Dd2I). Like you
could grab 'em, and - take off. And.

I also saw the inside of a walnut. Right
here below my fingers. That entire thing.
Mostly the shading made me think of

that, because it shades in darker towards
the middle like walnuts do. Um. (EQ)
The shape had - something to do with it,
too, but mostly the shading, OK? (pause)
Mm. Mm. I'm remembering things that

l - saw - a few - few months ago (laughs).
It's really. . . (E: "Ok, anything you see,
you can tell me. ") Right now, again?

(E: "Sure. ") OK. I think that I saw

244

as a bird before (DI I). The wings of a
bird. But I didn't see it this time. Well,
I did (laughs). And I don't even think I
saw this before. Before - before. Is

the elephant. His - big, um - trunk

going out here and then there's the -
shadow of an eye (D3). I think the shadow-
ing, and the shading makes it most look
like an elephant. Because, um , because
the eye caught my eye at first, and I
filled in the trunk. OK. So much for
that. Um. Did I see - animals' - mouth?
(E pauses to look at notes, "Yes. ") OK.
Here they are. Here's the top part and
that's the bottom - lower jaw. And here -
is their mouth. Just includes that much
(DB and Dd24 are jaws, space between is
mouth.) And it's not a full face, in fact,
you can't even see the eyes, you just

see in the mid - like the teeth apart. OK?
And - shape would have most - to do with
that, on either side. OK? (EQ) Color-
ing had something to do with it. Just a
little more defined around the m - mouth.
Mmm. I don't think I saw anything else.
(E: "Mm, yeah -") Fine. (E: "A

pirate. ") (5 looks quizzical) (E: "In a
three-comered hat.") Oh, yeah '. OK .

I was looking so into the black part, that

I couldn't see the white part (laugh).

See, here's his hat, cornering, and then

he's got the turtleneck, er the - shirt

245

Card VIII

A 4" Oh, good, color. Now (sigh). Mm.

8" On either side, in the pink, I can see

something like - an animal of some
kind, like an otter. Mm. I can see
three of the paws, 'n three of the legs,
and not the fourth which must be behind
the animal. N 'then, I can see right

in the middle of the picture, a rib cage,
kind of - form. It's only got three ribs -
on either side, but it looks like a rib
cage.

Mm. (Pause, II") Right here I can see
a - what looks like a bird. It's-the eyes
are a darker orange, and then the beak
comes down in a lighter orange. And -
it's just the uh, like if a bird has shoul-
ders ., it's just the shoulder and the head
of a bird, so you can see the beak and the
eye. And then besides a bird on either
side, more on the left than on the right,
I can see a little dog. His head's stick-
ing out, and he's got real long ears.

His ears are - hangin' really low.

Mm. I guess very vaguely, um, the top

grayish-greenish part looks like a - pine

on, and then his shoulders are - really
cornered (D57). So, it's the shape - I
mean it's just purely the shape. That
made me think of it this time. (EQ)
Cause he's got that hat on. OK ?

All done?

OK. At - first I saw the animals, which
could be otters, on either side, just the
pink part, and I see three legs, but not
a fourth, which must be behind the.
animal (DI). And, it is the shape,

that has to do with it. Not the coloring,
and a little bit of shading, because the
shading makes it - the face - more
distinguishable. OK? And, here, I
can see a tree, a pine tree, in - in
greys and greens (D4), and it might be
snow-covered. The shape and the
coloring both have to do with my
identifying that, mostly the - shape. OK ?
And underneath it this blue - and white
part might look like a snowbank, like
shoved up - by a - machine of some kind
(D5). (EQ) I think the coloring, be-
cause - it can look blue - blue snow
(laughs). Um uh, (EQ) The shape
looked - it looks bunched, you know.
But I think that has to do with the color
and sh - shading, too. OK . Here is
the rib - here are the ribs (D3), and

there's only three of them on either

><

246

tree, like a Christmas tree almost.

Maybe with a little snow on it.
(Pause) In fact, the blue part
below it - has some whites in
it and it looks like snow below
the tree.

(pause)
I think that's about it.

Total time: 2' 7"

side, and it's the shape, that makes it
look that way. Got that? OK. Now,
here's my bird. Here are his eyes, the
dark orange part, and he goes right
around - here. Stops right at the end of
his beak , and it's j - just see the top
parts of his shoulders. The coloring was -
what mostly made me think of it as a
bird, and the shape, secondarily. (Dd23
is beak and forehead of bird. Eyes are
darker orange spots on either side of
Dd23, outline of head is barely discern-
ible as a line between darker orange
middle portion of D7, and lighter, outer
portion of D7, which is not part of
percept.) And - here's the little dog
(Dd26 on left as you look at blot A).
This guy's kindaimessed up (Dd26 on
right with Mom), so I 'didn'tlthi‘nk too
much of him. And the ears are hanging
very low, and his nose is just peeking
out. It's the shape, first of all, and then
the color, that made me think of it as a
dog. (Pause, 22") I can't see anything
else (very softly). Is there more?
There's no more. Good (laughs). Just
when I'm convinced there's nothing left

I'm trying' to find stuff.

247

Card IX

A 4" Now (sigh), at the bottom I can see -

two heads. Like - they look like a
child's head. 'N just a head, that's
all that's - just there. I can - like
maybe distinguish eyes, and a nose,
but the mouth - looks like - I mean it
doesn't really look like a mouth.
Towards the top, y' can see like -
more - cartoon-type characters, with
a bulging stomach on either side.
Just like a beer belly type stomach.
Um (clears throat) the heads aren't
really - easily distinguished. Looks
like they have small caps on their
heads. (Sigh) Now. Right in the
middle, it looks like there's um,
flames coming from a blow torch,
kind of. And the flames are in blues,
and whites. There's some green
there.

Um. (pause, I2") And I can see
what may - may be interpreted as a
map, you know, with -- (E begins to
cough) Poor Kid '. (E continues to
cough, S suggests a drink of water, E
turns off tape recorder, and leaves
room to get a drink. This time is
substracted from the times given.)
Now. OK, now I see an egg timer,

and what was the blow torch before is

now the sand, dripping,er,not dripping,

OK. OK, the child's head, on either side
down at the bottom (D4) . Covers this
much, OK? And, like I said, you can't
see the mouth real well. You can see th -
likethis might be little tufts of hair. (EQ)
Mm, the shape, 'cause it's sticking out
more. Ah, the shape and the shading,

you know, helped me identify it. More

so the shape, 'cause it's rounded. Now,
-all done with that? OK." Here's my map
(Dds29). This is where I see the little -

in fact I saw it turned over, but there's no
difference. I'm not sure what country

it is, but it's like the shape is all that
made me think of it. Because actually

it should be opposite coloring. (pause)

OK ? Now here's the fat stomach, or beer
belly - of this little guy, and his head's
totally messed up, although he might

have a cap on, which you can see right
here (D3 area, with Dd28 as belly,

pointed tip of D3 as cap, D7 not part of
percept), and he stops right about there,
and right about there. OK'? It's the
shape of this guy that makes me think of
him as - a beer bellied little man. “Now,
I put in piano keys right at the end,

and here they are (Dd2I). The - color,
you know, the overlapping green made

it into piano keys, but the shape is

also important. There's only five -

248

flowing through the egg timer. Hm.
(Sigh) (pause, l3") (E coughs)

OK . Just one more thing. I can see
towards the bottom, um, the green is
overlapping the pink and it looks like
piano keys, on either side. There are
only - five black ones and four white
ones, so it's just a small section, but

it looks like piano keys. That's it.

Total time: 2' 25"

four? Five black keys and four white keys.
OK? (EQ) The color is what caught my
eye first of all, so I'd say that was more
important. Here's the blow torch, coming
up here, and - this is the - well - it goes
about this far. OK? And it just covers
this middle part, here (D5). The coloring,
I think had a lot to do with it, more so
than the shape, but the shape was involved.
OK. Now, this is where I see the hour-
glass. It comes around here and then it -
just stops (D58), and this - is the sand (D5).
Pouring into the hourglass. Now the - the
color - i5 - you know, remarkably impor-
tant, because it's white down here, but

I don't think it's quite as important as the
shape. OK ? Because this -- (E: "And
then the top of the hourglass is sort of

not - defined, really, it's kinda the
bottom half, and a little bit the middle. ")
Yeah. Right, mm hm. (pause, l5")

Hm. I think that's about it.

249

Card X

A 2" Um (sigh).

4"At the very bottom I can see two -
worms. They look like tomato
worms. And - there's an animal
that looks like a - rabbit, or a
rabbit's face, and the worms are -
are - at - the mou (clears throat)
the mouth of the (E coughs) Oh, I
hope it's not catching '. Are at the
eyes - of the rabbit. Which is

kind of gross . Um, at the very
top, | see - what could be a -

man's penis, but it looks too
straight and hard. So - therefore,

it might - instead be - like a tele-
scope, or something that, you know,
comes out of a submarine. Um.
Right in the middle I see - the urn -
the bones, like the hip bones of a
human being. In blue. And they're
connected to a pink part - which
kind of looks like it's giving it life.
And, there are - two green images on
either side, and they look like, um,
kind of - animal-type characters.
Um. And they look like they're
going to dive into a swimming pool,
or something like that. And then,
what they are standing on looks
like, um, oh, a crab-type figure.

Only it's the wrong color, but

OK. Now, first I saw the worms at the
bottom (D4) , which are green and are
eating the - rabbit's eyes (05). And - I
would say the coloring, most of all, did
it, because tomato worms are green, but
the shape - is important too. And, the
shading because the rabbit, you know,
comes lighter, and, where his nose is.
OK? Um, see, what did I do next?

(to herself) (EQ - determinants, rabbit)
I think the shape would be, because the
ears - are what makes it look like a
rabbit. OK? Um, does it help you to
-try and do them in order? What I saw
before? (E: "It doesn't matter. What-
ever you like. ") It doesn't, oh, OK?
OK, here - is the hip bone (D6). Hip
bones. And that must be the backbone
or something (Dd34) . It's kind of lead-
ing into, you know, a redness that -
kind of - implies life. The shape is
most important, but the color is very,
very closely important. Here's the
what could be a telescope, or a penis
(DI4). It's right, uh, right here. And,
the color - makes-makes: it look like a
telescope, and the shape - makes it
look like a penis. The shape makes it
also look like a telescope, but more

so the color, 'cause it looks - metallish,

that's why it wouldn't be a penis,

250

that doesn't matter.

And, as I turn it upside down,

I can see on either side a turtle.
On a limb - of what must be a
tree because it's brown. And

the turtle's brown too, it's just
hanging on. Not really going
anywhere. And, right in the
very, very, middle of the picture
is a wishbone, a tiny wishbone.
Hm. OK, now, what were the
worms before, are seahorses,
when turned upside down, they're
green at the bottom and blue at
the top. (E coughs for l2") I
just see one more thing. And

it's a walnut. Real tiny. It's
in a yellow spot, and it's a
darker yellow. Just the whole
thing. (E coughs) That's all.

Total time: 2' 50"

because it's not fake (laugh.) Um, here's
the little wishbone, right in the middle
(D3), the shape is what makes it look
like a wishbone, but the color has
something to do with it, because it

looks - yellowish. Here's the crab (DI),
and it's completely the shape, just because
there are - a lot of things sticking out.
OK? Now here we have the little guy,
that's going to be diving into the water
(DI2). Um, it's the shape, and the
position that he's in, makes him look like
that. (E: "Now, what kind ofa little
guy is it?") Um - um - it must be human -
but, it has some - animal-like character-
istics, because it's so bulky. And it's -
it doesn't look like he has arms, more
like paws, but it's got legs, and 0 mm -
it's neither, or (laughs) it's just kind of
in between. Ah (V)--now these turned
into seahorses (D4) , because of their
color, and their shape. More so their
shape. Um, and, here is the turtle

(D7) , well, this is even better (S prefers
one D7 to the other), hanging on a limb,
ah, the shape is most important, but

the color's awfully important (EQ) OK,
this is the turtle (thickest part of D7),
and he's hanging on what the rest of is
the limb (rest of D7 is limb) . (EQ)

Right, mm hm. And - all done with him?

OK, here's the walnut (Dd33) and, it's

25I

the - shape, first of all, that makes them
look - think of it as a walnut, then the
shading, 'cause it looks like it's - there's
two parts. And then the color. It's not
quite dark enough to be a walnut. Right
now, just off the cuff, this looks like a
waterfall (D14) . Because of - just - the
shape - of it coming down, just it's - very
hard-flowing water, and so it stays in one
stream, mostly. The color has something
to do with it too, 'cause it's white, and
looks foamy. (pause) Hmmm. . .I don't
think I see anything else.

Total time for IO cards: 2l' 53"

E and S have a brief conversation about coughing and allergies.
S then comments as to how surprised she is that she remembers

so much from the previous session.

TAT, SUBJECT B, PREMENSTRUUM

Card I. 3" OK. Here's a little boy. And, um - he's been forced - to take - violin
lessons, and he doesn't want to - and - the reason he's being forced to
take it is because - his mother is a - musician, and his father is a professor in - the music -
the College of Music, and so, man, if that boy doesn't produce, like - forget it for the
parents. So, he's under all kinds of pressure, but the kid would much rather be out playing.
And - it's not only that he's got the regular kind - um - desires of a little boy to be outside,
he just hates music. Mostly because it has taken his parents away from him, as a child,
and - it's like he's - jealous of music, period. And so, here he is, confronted with one of
his worst enemies, and they say, learn to love it, and - he doesn't want to. So, what
happens - is, um - he mostly puts all these feelings inside of himself, and - doesn't tell his
parents, because he's not a super-demanding kind of kid, in fact, he's rather meek. So he
practices the thing, he becomes very good, and, once he has proven himself to his parents,
and his parents are very happy with 'im, he, um -- he goes out on his own, and - he leaves
his parents and , he marries someone - ha - that has nothing to do with music, is extremely
unmusical, and he destroys everything - that he has ever - had to do with music. He
destroys all of his instruments, all of his practice material, and, um, well burns it all up,

and then starts with - a new life entirely void of music.

Total time: I' 58"

Card 2. OK. Now. (Sigh) Um...

I3" Here we have - some poor people - um, and some rich people - a rich

person. Person on the left is - a rather rich bitch (laugh). She's - just has -

had the best kind of things all her life, and she never knew - what having - little was.
Now, the woman in the background, that's pregnant, has never had much, in fact, the
child is the first thing that she's ever been able to call her own. And, it's hers and the
man in the middle, that's working. And they love each other very very much. Well.
The - woman on the left, um - has been given a lot of things, but she's never, you know,
thought much about giving life to anything, like I don't think she'd ever even want to be
a mother and, you know, not that's not a negative kind of thing, except - and it - it

hadn't been until - she came, to visit these people, like - they're related. Like, this is

the rich relative and these are the poor relatives, and like they're cousins. And - she is
252

253

a super-professional person, super rich, and she came to - visit these people out of
necessity, because of her - her father had died, and she had to tell these people about it
and, you know, they - they were in the will, so they had to get some of the money, and
she was very disgusted with the whole situation, and the woman with child, you know, I
guess - she's a really hard working woman, and she's very gentle, and very very kind, and
the man is extremely hard-working, and he's - oh, he's just a super fine person. And so
she comes there, this - rich - chick, that thinks she has everything in the whole world,
and - she spends a - about a week with them, to her disgust, and comes to find out - what -
what - loving, and living, and giving is really all about. So - she kind of - you know -
she's - she remains a bitch, the whole way through it, and really hard to get along with,
but these people are really kind to her, and they don't - it doesn't hassle them - enough to
be really mean to her, even though - I probably would be (laugh). And so, they um, treat
her really nice, and she - she like - she never wanted to be a mother before, and now she
realizes how cool it can really be, and so she decides to stick around until - the lady has
had her baby, and so she does, and - she offers full support of the child, so the child is
able to go to school, which is something the parents never got to do. And so she goes

away with - like an entirely different - value system, and it's really cool.

Total time: 2' 58"

3BM. 5" Hm.

I2" OK . This - this scene, right here, takes place in a hospital. Um, out of

desperation the girl came here, because she just had nowhere else to go.

On the floor beside her, are a pair of, 'er a set of keys, and she has just come - from - her
home, and - she found out, that her, um roommates, had changed the lock on her, because
um -- they had really been having a lot of hassles, because they couldn't live together
well . And the problem was, not with the girl here, necessarily, the problem was, that
people couldn't really see - um, or accept what she was. OK, the roommates - um -- were
- like super-liberal people, just fantastically - liberal, on, you know, that continuum.
And this girl, you know like - is rather conservative, comparatively, and - her roommates
just couldn't handle it um, they thought she was uptight, and, you know, not very
sympathetic, and - kind of out of it. And so they just thought, you know, forget it, we

don't need to deal with her, we've got enough-i - other people to d - that we have to deal

254

with, that we'd rather handle. So, they just changed the lock on the apartment and, they
had no idea, in all of their liberalism, what - kind of impact this could have on the girl.
So, they looked her out, you know, thinking that's really funny, and - the chick just kind
of - well, she was just so unstable to begin with, that she just kind of, oh, let herself go,
and just said - why try anymore, and so - she came to the hospital, hoping that she could
find - someone to help her, and - in the end, people that are more understanding - just as
liberal as these a - as these other roommates were, but - more understanding, could, kind
of - use empathy - and work with her in a m - in a healthier kind of way. And so as it
comes out, she's c - as conservative as hell, but she's really cool about it, because -
people understand her, and took the time to help her understand other people. And - like
this is - this is about the most depressing moment - of her life, right here, and it's like -

it was all you know, down, before this, and it's - it's pretty much up after it.
Total time: 2' 48"

3GF. 3" Um. (Sigh)
8" OK . There's a party. And it's supposed to be a really wild party. But - not

too many people showed up, so that everybody that was there, at the party
- got really drunk. And so nobody knew (laughs) what was going on, like were only about
ten people there, but everybody was so polluted they didn't know what was going on. So
one of the girls decided to go across the hall into her room, and get some more wine, and
so when she came back, um, she was standing - she was ready to open the door and she
had grabbed it, and - she heard someone coming and she turned around, and then someone
pulled the door closed, and so she got - like her fingers caught in the door? And , she
dropped the bottle of wine, and it's down here, completely smashed, on the floor. And
she's really upset, but - like - she doesn't know what to do, 'cause everybody's making
so much noise, in the room that they can't hear her. And so she's just kind of - whimpering
(laugh). Out in the hall. And so what happens is that finally someone just decided to
come out, and so they open the door, and - her - her fingers aren't really hurt, plus she
doesn't feel it - anymore anyway, because she's - kind of - got a lot of alcohol in her.
Um. So -- it's just - she just goes back home, back to the apartment, and she kind of
falls asleep, which she should have done anyway, and - urn - the person that had closed

the door felt really, really rotten about doing it, but - but that person - he didn't know

he had done it. And -- so - she just kind of leaves, and then the person that had done it

255

felt kind of rotten, but he - split, too. And so - that was just the way it went. And then

the - party ended, about an hour later.

Total time: 2'

4. 4" Hm.

IO" OK . Urn, he's a truck driver. And - he's getting to be a pretty successful

truck driver, like he's making more money than he thought he ever could.

And they're thinking about getting him into management, now - because he's really a
responsible dude. Well, this woman with him is - um - has just come into the picture.
Like she hasn't been around real long. Because, well, for one thing he's married, and -
he's responsible there, too. But this woman, finds out that he's, you know, in for lots of
promotions, and for a lot of, oh, money probably, and success. And she decides, well,
better grab him, you know, with all of my - charm. And so - it didn't work, and she's
really bugged by it, so - she tried everything, and the guy's just really responsible, really
faithful. So, she tries the bit about how, um l'll destroy myself if you don't come with me.
And, the guy's having kind of a conflict because he doesn't want to see her destroyed. And
he's trying, at this point, to pull away from her and just leave her. Because he's had a -
really great life, so for, why ruin it, you know? And so, um - oh, she keeps buggin' him
and buggin' him and buggin' him, and she - she - she has no brains -- just basically - a
lot of desire to - live off someone else's success. And so, finally he just splits, and he
just leaves. And, um - he goes on, he gets the promotion, and his family grows up, n' is
happy and healthy. And, um -- she doesn't commit suicide, she doesn't destroy herself,
because she knew she never would, but it sounded good at the time. And so she takes off
and -- pretty much - goes on living the way she has. Looking for success in other people,

because she can't quite find it in herself.

Total time: 2' 23 "

256

5. 12" OK. Hm.

2i " OK -- so (sigh) -- mm - it's time - for breakfast. And everybody's down,

waiting at the table, except for - um , Melissa, and - they keep calling

Melissa, you know, but - you know, nobody's too hassled by it, because if she doesn't
come down, she just doesn't get any breakfast. And it's a rather large family, about five
or six kids, and so everybody splits, you know, for school and work and everything, and
Melissa never showed up. And then the mother - got the dishes done, and then thought,
holy cow, Melissa's still upstairs. So she trots on upstairs, and she opens the door - or,
well, she knocks - and Melissa says, come in, and the mother - comes in, and she looks -
and like, um - Melissa's um - all set for school, she's all dressed and everything, but she's
just sitting there. And the mother says, what - you know, what's the deal, what's wrong?
And she says I don't feel too well, and so the mother says, OK, well, like how do you feel,
and so she has - a temperature and the whole bit, and they found out she had the measles.
OK, so, ah, this is no big deal - at all. Like - she's - oh, about fifteen years old, and -
it's - she could take it, she was a pretty healthy kid. And so, she has the measles for a
few days, and then she gets better and goes back to school. Well, the mother -- finds out
that - the minister's son, also had the measles - at the same time. So, the mother got all
ticked off, and the whole family ended up getting involved, because - the minister's son,
you know, how can you avoid that? So - they got a - they went - they - they jumped to
- a whole lot of conclusions. And come to find out, both of - Melissa and the minister's
son, had been exposed to a child in the Sunday School where they both taught. OK . So
it was - very legitimate, and like - we know that, and Melissa knows that, but the parents
never believe it. So - mistrust - like you wouldn't believe. And, uh, oh, they tell
Melissa and the minister's son not to see each other 'cause she's not supposed to start dating
till she's sixteen, and she's got about four or five more months to go. And, um, so -
Melissa's really ticked off. And rightfully so, because she knew she was right. And she
knew - later on - that she should've probably just said well I'm right, so let's leave it at
that. But - at her age and at her stage, and with a little help from the minister's son, she
decided to be - to goof around a little bit and be a little bit rebellious. Because her - she
had - her - the whole identity of being a daughter had been lost in all the kids in the
family. And so, she, um, she dates - the minister's son on the sly, and - her parents
catch her, and her parents keep bugging her, but Melissa pretty well has it together, and,

you know, then she gives that up, because she's not really interested in the minister's son,

257

she just wanted to prove her point, so she gave that up, and - she got through high school
fairly well, and went on to college, no big deal. You know, messed around a lot, but -
nobody ever found out about it (laugh). And so, urn, what could have been really, really
traumatic because of the measles, turned out to be quite well, because Melissa pretty well

knew - her parents - and herself.

Total time: 3' 56"

GOP. 8" OK. Um --- the lady's waiting in the waiting room, um -- of -- hm - she's
auditioning, so it's of - of a theater company. She's auditioning for a part
in a play. And she's a really very talented lady. And so the guy's coming out to her and
telling her, OK, you can go in and see the dude now. So she goes in, and she's rather
anxious about it, and um, anyhow, she's -- composed enough to present her w - herself,
and - her capabilities, rather well. And - the - uh - manager is rather impressed with her --
um - compared to the other girls she did - quite well, but - he didn't want to give her the
part. Because, um -- she was - um - she had a child, and she was unmarried, and this would
kind of - defame their name. And - this didn't come out in the interview, by the way, it
came out from other people, in fact, some of the other people trying for the position. And
they knew that it would, you know, take away from this girl's glory. So, like, she was the
most talented and the most capable for the uh, part in the play, but she did not get the
position because, there were some , you know, judgments and hassels by the managers - of

the play.

Total time: I' 43"

7GF. IO" OK .
12" Now here's a child that is - being raised, in a supposedly - you know,
maximum - maximum atmosphere for - good child development. She has , like
her father has plenty of money - her parents, um, so she gets - all of the right kinds of foods,
and sleep, and - and - and a very healthy kind of atmosphere, except for the fact that her
parents are never around. Like the person here with her is a - governess, working for her
parents, to educate the child. But the child will have nothing to do with her, because -

she can't identify with the governess - as a parent, although the governess has tried. And --

she gets enough - fresh air, and enough - food, but she still complains constantly of sickness,

258

because, it's not a - physical kind of sickness, an - it's an emotional kind of sickness - and
deficit. Um, the girl -- is a whiny kind of girl, and she - grows up to be -a. \shiny kind of
a woman. Um. She has all of the social graces, all of the money, all of the things,
materially, that she'll ever need, but because of this lack of love and attention from her
parents, she - she ends up to be an extremely -- oh - like a hypochondriac emotionally,
you know, she's never happy. And - she ends up marrying - a person that, to begin with,
was very happy, but - she makes his life miserable. She never has children because the
pain would be far too great. Um - she ends up frigid as hell -- and then - dies at a very
very old age because she's healthy - as all get out. She never worked in her life, she

got all the proper exercises n' - no way into heaven when she died because she was (laugh)

just - too mean. So she hung around for a real long time, a very very unhappy person.

Total time: 2' 27"

8GF. 7" Now. Just briefly, this is a very gentle, warm kind of woman. A very
simple -- uncomplicated kind of girl - very, very wise though. Just - seems
to have a lot of insight, a lot of empathy for people. Um. It's the kind of person that could
work to - become whatever she wanted. Um. Right now, she's just kind of thinking really -
good, kind of passive thoughts. And - she does this a lot. And it's - something that she does
that - perhaps - you know, more people should do, because it's what has kept her simple,
and - and warm, and - uncomplicated. And -- as a child she was always very, very happy --
and warm, and simple (laugh). And - right now she feels very good, she has a family -- of
-— about three kids. Two little boys and a girl. And - her husband - had - had kind of a
bad - background in that he was just was - oh, tossed around from home to home and parent
to parent but - when he met her, he couldn't believe that there was a person - a human
being left who was so simple and free. And so he - he really dug her. And - she has - not
changed him, but just - made him a really appreci - appreciative sort of person. And - they
find a very, very happy life together. And their children are extremely happy. They touch
each other constantly, and touch their children constantly, aren't afraid of it, uninhibited
by - what other people may think - because she's - she's extremely sincere, and when you're

that sincere, you just can't lose. And she hasn't lost yet. I doubt that she will.

Total time: 2' l6"

259

9GF. 5" (Yawn) OK. Now.

I4" OK. Here we are in the jungle. And - these two girls are daughters of - a

rich - oil farmer (laugh). In the jungle. And - they have a lot of money.

The girl on the lower - left hand corner, is - running away, and is furious about something,
and the girl in the - the other girl, on the right - knows who '5 going on, but hasn't been
telling a lot of things. Well - the girl that's running, um, had fallen in love, with a
member of a - of a tribe - in the jungle. It's a jungle in -South Africa . And - like it's
really far out, because - he has a very limited vocabulary - in English, and she doesn't
speak any Zulu, but they um, they still really dig each other, and the basic kind of things
they really - agree on, and - have found - a good relationship with each other. Well, um,
the father had no idea this was going on, and so - she was keeping it under cover, and she
was going to go away with this - Zulu man, and marry .him, and come back and tell her
father'. But the sister had found out about it from some of the other tribe members, and so
she had gone ahead to her father and told. Well, the girl in the lower left had gone to -
her boyfriend - her fiance, whatever, and - he refused to speak with her, because - he had
thought that she - had told - the father, when she really didn't , the older sister had. So -
um - the girl was running to her father to verify things, and she gets there, she finds that
her father could really care less - that - you know - the color of the black dude. It's
really far out, it's really beautiful, and, um -- this really crushes the older sister, she's
really upset, you know? But -- actually, um -- it did no harm to the couple. They got
along beautifully, no hassles. Well, there were some hassles from the tribespeople, but
those were kind of alleviated when they found out that the father didn't care. And so, um,
they got married. And - the older sister was maid of honor and everything - because - why,

you know, why bug her, 'cause she lost anyway.

Total time: 2' 55"

260

ID. 7" OK. Now this is a very old couple, they're about ninety - oh, in their
nineties. Probably right around ninety - ninety-one, ninety-two, and -
they've lived an extremely looong life together, they were married when they were - she
was sixteen, he was seventeen. And - they know kind of, in a weird way that old people
have, that they - are about to die. But it's really neat, because it doesn't hassle either
one of them - at all. They're both Christians, and - they have the security of their God,
which is fantastic. They have each other, and they've had each other for years, and years,
and years. And this has been a really - a really satisfactory kind of life. Really warm,
really happy. Um. He had a couple of affairs on the side, but she never found out, and it
- didn't hassle him, it was really great. They had a good time. And she - she's done a -
few strange things, too, she - she got some money - from a relative - and she bought herself
- um - an estate , um - away without even telling him, so she blew it too, but they never
found out about it, and they were never super hassled about it, and right now that's the
la - n - n - the last thing on their minds, because they're just kinda enjoying last minutes.
And - they're very - very wise, at this point. They really know where they're at - for the
first time (laugh) in - in their whole lives, and - and like - to me it's just amazing, to see
these people so - so happy, and so in love,after sooo many years, like, you know, wow -
seventy years of marriage, or whatever. That is a long time. And so it's just to me, a r -

a really good story of - of a fantastic ending.
Total time: 2' l3"

At this point, further instructions are given for cards Il-20.

II. 4" Now. (Sigh) Mm. OK.
18" Now these are all midgets that work here. They're all very very small

people, but - to them, they're big, because, you know, we might be small
to - whoever might be telling a story about us, right now. And, they live in a misty old
dark - place, and their whole world is like this. They've never seen the sun. And - their
whole life's occupation is - um - carving images - of - pregnant women. That's all they
ever do, and it's fascinating, because - they, um, don't reproduce - like we do. They um -
they go through a marriage rite - as such. They choose a partner to marry, and it can be

either - male or female - there are sex differences, but - there aren't any hassles, you just

marry whoever you think you can - get along with well.

26]

And the whole concept of love is kind of not there, it's a - it's a - you 're working it out,
practically, you know? And - which is fine, because, you know, if - we have never -
had never known love, you know, we'd never know - the good feelings it had, either.
And so - when they choose - when they select their mate, they um - immediately when
they're married, they put in a - request - and, considering, you know, if - if it works out,
through the head guy, they just - um - suddenly um - each of them splits, it's a - ZPG kind
of thing, you know, because, each pers - each - individual - splits into another person,
so they have two children exactly like themself. And those two people - not - don't
necessarily - have to end up with each other, either, which is - kind of neat, but - their
whole life's occupation is - is carving - images of pregnant women, which is really fasci-
nating, because they've never seen a pregnant woman in their life. So - one day, uh,

this pregnant woman - from - our world, ventured down - into - their world. And here she
is, she's pregnant as hell, and so many people think that it's just gross, and - she was
really upset about it, because her husband's really upset. Because, well, what kind of a
sexual relationship could we have, and he was going on and on and he was really ticked off,
it was an urexpected pregnancy anyway, and so she was really upset, so she was just wonder-
ing away, and she wandered into their world. And, they had assumed that one of their
statues had come alive, and it was really fantastic; they worshipped her, they thought she
was the most beautiful thing in the world, and she was just - amazed, just totally amazed,
and these little people, they.were ugly as sin, but they were really neat, they were really
warm. And -- to what - she - she interpreted this as love, and they had never had any
concept of the word love before. And so here she is at - on a silver pldter getting all of
this love, and so she stayed down there. And, um - they had no - no such thing as time,
so she decided to stay down there, to her what seemed like - years, practically, but - in
actuality it was like - an hour, or something like that. And she stayed down there and -
explained to them the whole concept of love and - and how love is - is what produces
people in her world, 'n - and they just thought it was the neatest thing, because - they
just - got together out of necessity, kind of, you know? And um -- well it was just kind
of neat, and so she brought back - one of them. One of the , um - head guys, and she -
brought back - this head guy, but they said in order for you - to take one of us, you have
to leave one of you - So, she figured - I really would love my child, but - my husband
wouldn't , and, like what kind of home could I have for this child. These people would

be really kind to it. So, she did. She stayed there for a real long time, until it was time

262

for her to have the baby, and she had the child there, and left it there, and - they -they
treated it beautifully. The - the kid was really happy, and - so she went back to the world
with one of the little people, and told her husband that this was the baby. And he totally
freaked out, just practically lost his mind, but it was really neat, because - um - like here
he was complaining about what was gonna happen, and look what happened (laugh) after all.
It was really cool, because it put him in his place (laugh). And so then, she introduced
this new world to the rest of the world, ' and then, communications started, and they gave
us their, you know,their image of beauty, and we gave them - our image of love, and it -

it really worked out well.

Total time: 5' 5"

12 F. 5" Um.
l8" Let's see. Both of these women know a secret. And - it's just the whole
thing about this picture is that they're having different reactions to that
secret. Now, one of 'em is older, and - probably had been through a helluva lot more
than the other one. But the other one's prettier, and - and younger, and -- fresher (sigh)
than the - other one. OK, the whole secret is - that, uhm -- they've - found out that -
there are going to be no more men, on the earth. And - the old lady - just thinks it's a
riot, because (laugh) she doesn't need them anymore, obviously. And - she thinks it's
kind of funny, because she's in on the. last batch of men, and-well, she led quite the life,
and - she, um - she thinks it's really a riot. Well, the woman in front - has had some -
hurting kind of experiences, but - um - she's still kind of apprehensive about it, because
it - you know, it'll put her in a kind of strange position. So, what they're doing is just
both kind of reacting to the fact that there won't be any more men after a certain date.
But they are the only women in the entire world - that know this. And so, they're both
kind of tickled that they know it, because they can really - get around, and, you know,
people will think they're crazy, but they're gonna know it. And, uh - so, the women -
the old woman - doesn't - do too much. But she just kind of sits around, and giggles all
the time, and most - you know, everybody thought she lost her mind. And, yet, she's
going, I know something you don't know. And the young woman starts just - oh, just

having a riot, you know, going out constantly, sleeping with every guy in the whole world,

and just having a good, good time. She's not necessarily hurting a lot of people, and it

263

doesn't bother her anyway, because she knows that, you know, it's a matter of days, and
they're all gonna be - gone. OK, so the day comes -- and no - no - none of the men die.
And (laugh) they're really upset, because - the woman is kind of - well, she changed her
life style drastically (laugh) to say the least, and people had her - have her pegged as a
rather risque woman, and the old woman is kind of pegged as a maniac. And so, um -- they
- they can't contact the source anymore, from which they got it, so they just - continue in
their life style, and they come to realize that - they had - '5 been really taken advantage
of. Because, um, men had, you know, taken over their lives, pretty much. Wh - had made

0 C I O O
one a man - a maniac, and the other a - rather risque woman. So, In the end the men wrn

(laugh) .

Total time: 3' I0"

I3 MF. OK . Mm.

II" Well - there's a business, and they rent - out - bodies, that are all mechan-

ical. All, you know, wired up and everything, but they, um - you can

rent them for - well, it's - thousands - and millions and millions of dollars, but you can
rent them for - wife, you can rent them for children, you can rent them for maids, um,
doctors, lawyers, you know, you just pay them and have them programmed, for - so many
years, and then they'll do the thing. OK, so this young man is an extremely successful
businessman, and he had rented - a wife - because he - couldn't seem to get along with
anyone. And (sigh) he - he spent, like, almost all of his fortune on her, but he thought,
well, as soon as l have a wife, I'll make a lot of money, and I won't have to worry about
it, I'll just have 'em - keep having her reprogrammed. Because he loved her very, very
much, she was a .. really fine person. And - all of a sudden, uhm, the - Viet Nam war
got - really bad, and - we were put on a - a socialistic kind of government, and so - no
matter how successful you were, or no matter how poor you were, you were all put on the
same scale. And so for sure - these machines would be cc - you know, completely eliminated
because - bringing the rich people down, w - would make it so they couldn't afford it. So -
he's had her - for fifteen years. And he's really used to her. And he really loves her. And
for all she knows, you know, she can love him for the rest of her life, she doesn't know that

she's a robot. So - here comes this socialistic kind of thing, and it just totals him. He

doesn't know what to do. And, the - the fifteen year lease is up, and so she just stops,

264

you know, she can't move anymore, her skin becomes hard again, you know, all of her -
flesh becomes - wires, you know, that don't work any longer. And - he just - from that -
day on just - kind of gives up, in fact, he - offers himself for the service, because - for
the war, because he just - can't find anywhere else to go, and he has no other reason to

go anywhere. So , he kind of - destroys himself right along with her.

Total time: 2' 37"

I4. OK. Um.

8" This young man, has - um - very recently, like within - within the last

year, fallen in love. And before that year, uh - had had been a complete

loner, uh, I think he had only dated about four girls, or something like that, and then it
was all - so superficial. So he finally found someone, and, like - this person is -- every-
thing to him, but -they find that they have to be apart - for quite a while. And, he's waay
up in - the mountains, and - there's um - nothing to do. Hi - his grandmother's up there
too, but - they play cards sometimes, and stuff, and talk, but other than that, there's
nothing to do. He's working a farm for his father. And so, right now, he's just sitting on
a window ledge, dreaming about it. And as he's sitting there he falls asleep. And he
dreams that he's on the edge of the world. And - completely around the world, as far away
as he can see, is this - this woman that he loves, and - he doesn't know how to get to her,
so he jumps off the window ledge, and he just starts floating, you know? And he can't
grab anything, 'cause he just is kind of - weightless, and he's floating around. And, as
he floats towards her, he goes past every experience he's ever had. Like he goes by, mm -
all the girls he ever knew, all the men he ever knew, all of the, you know, like his parents,
all of his relatives, and the closer he gets to her, the more he wants to cling - to - the
past. And the longer he clings to the past, the more she starts to fade. And she starts to
fade more and more, and he knows he's got to get to her soon, but he keeps saying, oh no,
no, I want to talk with these people a little longer. And so -- as he talks with these people,
she fades, and she fades, and she fades. And then suddenly, she's gone. And then he
wakes up, and so he's really, he's really messed up, and he says I gotta talk to somebody,
and so he goes, and then he knocks on his grandma's bedroom door, and he says, I'd like

to talk to you, and so, no answer, you know, And he thought, oh - well, maybe she's

sleeping. And so then the next morning - he goes to bed, and he just says, well, |

265

should sleep anyway. Next morning he goes in to get his grandma, and he walks in, and,
like - she's dead. And, um -- and - they um - they did an autopsy on her, and like it
was a - a suffocation type death, but - there was nothing over her mouth, nothing like -
in her throat, or anything like that, it was like - in his dream, like she just was fading
away. An', um, it really messed him up for a while. He ended up, you know, back with
the girl that was in his dream. But - for the rest of his life he was just scared to death

that she would - follow his grandmother's pattern, just like - the what was in the dream.
And it kind of bothered him.

Total time: 3' 26"

I5. Hm. OK.

l4" OK, this is - the personfication of - a drop of ink. And the way a drop of

ink dies, is if - it gets caught in the rain. Because then it - it just gets

separated so much, that it just is nonexistant anymore. So this is - a personification of a
drop of ink, and - he - has been caught in the rain, and he's using his last few minutes, to -
appreciate his inkness, you know? And he goes to - a grave where all of his ink friends
are. And like they're all just gone, they all just split, as soon as it rained. And like -
the rain - is coming in harder and harder, you can see it, coming across the plain, and
you can feel it coming. And the humidity is really in the air, and he feels it coming. And
you can see that - his - his arms are starting to - pull apart see he all is - all put together
like this, but the more he comes in two, pulls apart here and his legs have already pulled
apart. The more he'll just separate, into - lots of different - molecules. And then he'll
just die and so now he's just waiting ‘till he just completely separates. And goes to ink

heaven (laugh).
Total time: I' 27"
(Further instructions given for card # I6)
l6. OK.
7" OK, and it's - rather simple, it's just a - it's on the seashore, like an
ocean shore, and it's - the water - is um - not really turbulent, but it's

moving. And up on a rock is a small house, and - it's very, very small, but it's - well

built, sturdy. And, there are curtains in the window, little red curtains, and there's -

smoke coming out of the chimney. It's a fall day, it's not - warm. But it - it - in fact,

266

it's rather brisk. And - there's a little pathway of rocks, leading from the, urn - rock steps,
leading from the house down to the - beach. And -- you can see a little old man, coming
out of the house and walking towards the beach, as he's done so for years and years and
years - and he's lived there all his life, his wife isn't around anymore, and his family,

but - he still lives there, and every day he goes down to the beach, rain or shine, to look
at the stone and to look at the sky, and to think, for a while, and, that's the way his

whole life is.

Total time: I' 20"

I7GF. 8" OK. Uh, this is aaa - woman, And she's wanted all her life to go to
California, because she's heard, you know, there's lots of opportunities in
California that you won't find elsewhere. And she's from, um, the south - like, oh (sigh),
around Florida, Louisiana. And, she's black, too, so - it's taken her a long time, for more
reasons than one, to get enough money to go there. But finally, she went. She worked
as a - a maid, for quite a while, and the people that she worked for were really super neat
people, and they just said, because you've been so faithful, we'll - we'll pay for - all
expenses paid for your flight there, you know, you'll have to finance your stay there, but
we'll fly you there and home. So, she went there, and here we have people working at
the docks and she's just amazed at all - the different things that are going on - the tall
buildings, an' - sun that shines all the time. She just keeps remembering the rainy-type
weather and the hard work back in - back in her home town. And, um, as she stays there
longer and longer, she realizes that the California sun - is totally different from the sun in
the south, in Louisiana and that. And - the sun in Louisiana - the more you're outside,
your skin gets darker and darker, but here - the more you're in the sun, the whiter you get.
And so - day, by day, very very slowly, her skin was getting lighter and lighter and lighter.
And so - by the third week she had been there, she was - whiter than I am, and she didn't
know how to handle this. People reacted to her totally different, um, she - really didn't
know what to do, but - she was - kind of happy about it, in a way, because in her head,
she knew she had the soul of a black person and she knew the culture of the black people,
but now she was also beginning to know the culture of the white people, in a really - you

know - direct way. So, she decided it was time to go home. So she went home. And

she met the people - the m - the people met her at the airport. And they said, my God,

267

what are you doing? And she says, it's really far out, that - that California sun'll do
wonders'. And they said, I don't believe you, and she said, go and see for yourself. And
so, they went there - the next week. And, lo and behold, when they got back, they were
black as - black as - dirt. It was unreal. So - through the years, the tables were reversed.
And, the - the girl who had once been a maid had a family, a husband, extremely success-
ful, and - the people she used to work for - they lost everything they had had, mostly
because they got kicked out of the neighborhood (laugh) first of all, and then their business
- just failed. And so she - she hired them, very - kindly - of course, to work for her so

that they could - eke out a living for themselves.

Total time: 3' 23"

I8GF. 8" OK. The girl is physically handicapped, she has, um - a disease, that um
(sigh) like - gnarls your limbs, like - that's why her hand's so screwed up.
And - people - are thoroughly disgusted by the way she looks. They'd just as soon not look
at her, than look at her. And - she doesn't seem to have any friends. Her family has re-
jected her because - she certainly doesn't do much for them. Except be a burden. So she
has this - this doll. And it's a life-size doll, and she plays with it all the time, and - she
can communicate well with it, she - talks to it she plays with it, she works with it. In
fact, she can't - function without it. If she's ever taken away without it, she just would
cry and cry and cry, until she got back to it, and then she'd just - stop weeping, and -
feel all better. Well - one day, um, she found a person that she could really talk to. It
was a girlfriend. And this girl was just really warm and kind, and - and could really talk
to her, ' and - and her - physical - appearance didn't bother her at all. So, they talked
for quite a while, and they got to be very very close, and soon this girl forgot all about
her doll. And then one day the girl - the friend - came to visit her - the physically
handicapped girl -at theshouse. And - the handicapped girl wasn't around. And so this
girl just walked in and she saw this doll laying there. And - the doll - looked at her just
- really fiercely, she had never seen a doll with such a horrible look on her face. And
so the doll - suddenly became life-like and approached her, and - destroyed the girl.
She just - she just -- well - pretty much just - told her, oh, all sorts of rotten things, and

just - really messed up the girl, and told her that she wasn't kind, that she was really cruel,

and that she had - hurt the physically handicapped girl and not only emotionally, but she -

268

destroyed the girl physically. And then, um, the doll - again become a doll, lifeless.
And then the - handicapped girl came in, and um - found the dead friend, and the doll.
And she knew exactly what had happened. And so - the doll had destroyed all of her
chances for ever communicating with people again, and, so sh - here, the handicapped

girl is destroying the doll.

Total time: 2' 49"

I9. Hm. OK.

II" Here we have a land - that um - what we know as snow, only there's - is -

they call it snow, but it's - like - cotton candy. It's pink, and it's sweet,

and you can eat it. Like, you can eat snow, except you have to be careful (laugh) where
you eat it. And, um - it's really fantastic, but the people don't appreciate it, because -
they've never known what cotton candy on a stick is before. And they just think, aah,
snow, you know? In fact they sell snow - in cups, you know, for the - oh, a comparable
price to our cotton candy. And, you know -- it's - it's unreal, because if we would ever
go into this world, we'd go, you know, oh my God, cotton candy". And if they'd ever
come into our world, they'd go, oh my God, snow. So here are some people, just living in
a house. Everything is exactly the same - in their world as it is in ours, except that their

snow is pink, and it's sweet, and you can eat it like cotton candy.

Total time: I' I4"

20. OK. All right. Let's see.

l4" Um, it's - misting, and this is down in - urn, Birmingham, Alabama. And,

um (sigh) it has rained - hard, all night, and then the rain has just softly -

let up, and - it's about - four in the morning. The street lights are still on, but they're about
ready to turn off, n' you just know when the sun comes up that it's not gonna rain any more,
'cause it works that way a lot of the time, and this is a man, just kicking a can through the
streets. He gets up this early every day, to walk his dog, and -- um - he gets up whether
it's rainy or snowy, or no matter what, just because the dog needs to get out once in a
while. So they're walking along like this in Birmingham, and, um - they meet another
person - walking along, anyway - and - and he's with a dog, too, only the whole thing is

reversed, and the dog's standing up on his hind legs. And the person's down on all fours

269

with a leash, and a collar, and, um - the man here - can't quite understand. First of

all it's four o'clock in the morning, and second of all, it's misty, and it's not too -
chipper out, and third of all, the dog should not be walking the man. But he doesn't

say anything, you know, he just walks by and just kind of goes, OK, you know? Then

his dog gets really freaky ideas. The dog's goin', now wait a minute (laugh), why can't I
do that (laugh), and, so, you know, like, the dog is um, twelve years old, and - he's
never given him a hard time. And so then, the dog just stops and says, I'm not goin' any
farther until we - exchange positions, and the man got really mad, you know, no way, am
I gonna do that. And so then, they're really havin' a hassle, and so the - the guy - that
they had just passed, the man and the dog, get around the comer and they start Iaughin'
really hard because - come to find out - it was just a man in a dog suit, and a dog in a
man suit, and so they think this is really a riot, because we really messed these people up
at four o'clock in the morning. And like that was - their livelihood, They just ran around

doing that (laugh), messing people up. What a good idea (laugh).

Total time: 2' 42"

RORSCHACH, SUBJECT C, PREMENSTRUUM

Card I

A 2" Well, to me it looks like a
butterfly - and - that's all it
looks like. (E: "Well, just
hang onto it a little bit and
take your time with it. ")
O.K.
Hm. (Holds toward her, then
away.)
Well, if it was up to me this
part looks like a uterus, but
I can't -- that's just because
I'm so used to anatomy and
all that stuff. But. . .Hm. I
don't have to describe the
butterfly or anything, do I?
(E: "No, just anything else
that you see. ") O.K.
(Pause, 27") That's all
(whispered) .

Total time: I' I6"

270

(EQ) A butterfly. (EQ) The whole
thing. (EQ) Because the way these
wings are stickin' out, and the top looks
like its eyes, 'n - the little antenna.
(EQ) Urn, he has this, um, it looks like
the thorax, and the end of him. (EQ)
The shape of the wings and - just the
whole thing looks like a butterfly.

(EQ) - what else you saw?) It looks
like a uterus. (EQ) Right here (Dd24).
(EQ) Hmm. Because - this - right here
it looks like -- let me see - it really
looks like a cervix - right there (Dd3I).
And, then going up, this looks like the
wall of the uterus right there (between
D3 and outline of Dd24). That's what
made me think of it. (EQ). Mm mm.

A 2n
8"

27I

Card Il
Ga' '. (very softly)
Looks like a face.
Um. In the bottom it looks like a
butterfly. (holds closer.) Mm.
The face looks like - there's a
nose in the middle, and on
each side is - a bunch of hair.
Mm. To me at the top it looks
like two insects are fighting.
Mm. That middle I - can't

figure out. Hm.

Total time: I' 27"

(EQ) Oh yeah, it looks like - two
insects fighting on top right there (D2),
and. . .(EQ) Because they look like
their hands are up - they look like
they're in combat. (EQ - any

special kind of insect?) Grasshopper,
maybe. (EQ: "Hm?") Maybe a
grasshopper - I don't know why, but.
And then it's - these look like eyes
(Dds30) and nose (D55) and a man with
a - beard like - on his - on the side of
his head - not his head but you know,
a beard on the side of his face. And
it looks like a butterfly down here.
(EQ - determinants, face.) Um. This -
well, I don't know, this - these just
look like the white - see that looks
like his eyes, and, his nose, and
these just look like his cheeks (DI),
and his chin down here (under D55).
(E: "Is he any - special sort of a
person?") Ah, he's old. (EQ) He's
got a big face (laughs), big cheeks.
(EQ - what else) The butterfly.

Down here (D3). It does look like
one, though. (EQ) Well, these

look like wings right there. And it
just looks like it's flying. (EQ)

Mm mm.

272

Card III
A 4" This one looks like a pelvis. This is a pelvis. (EQ) Yeah, it's

With those little leg bones coming right, mm (traces with finger) (DI).

down. And it looks like a verte- If it - the person — thi - oh, wait -

brae in the middle, that little red this would look like his legs if he's

thing looks like a vertebrae. sitting down, but this is at the back of

That's all. 'im. But, if you have a - the pelvic
bones, right there and right here, and
these are pelvic bones. (EQ) Um,

Total time: 26" well also that looks like a vertebrae

(D3). (E: "Is that part of the same -
thing, like you see - all those things
together, or is that a separate thing?")
Mm hm. (E: "That's part of the same. ")
Yeah, well, the vertebra - brae - is
separate, but it looks, you know, it
looks, like it would go in up there.
And, what made me - made it look
like it? I don't know, it just - really
looks like that. (E: "O.K. If you
should see anything you didn't see

before, you can mention it. ")

273

Card IV

A 3" This looks like another
pelvis (laughs) and the
tailbone looks really long
(laughs). Do you remember
what all these look like?
And. . .Hm. I know this is
gonna sound weird, but,
like they've got, you know,
those two hooked things, they
look like, um, fallopian tubes
(laughs)? I can't help it, that's
what it really I - I think these
things look like. (E: "Fine.
There's no right answers. ")
O.K. (Pause I5") Mm. The
tailbone looks like it was

vertebra, you know, on the way

down it looks like vertebra. And,

(sigh) that's about it.

Total time: I' I5"

This is a pelvis. (EQ) This is - the
pelvis (W), on the end of it, looks
like a long tailbone (DI), these look
like Fallopian tubes (D4). (EQ) Um,
the way it's shaped, I guess.

(E: "Now, again, are you looking

at that kind of as three separate things,
or is that all part of the same thing?")
It's all the same thing. I know that

it is separate in the body, but - that's
what it looks like - should be all
together.

A 4"

A 2"
7"

A 5"

274

Card V
This looks like a butterfly
It almost look like - looks
like it has skis on, but it. . .
Hm. (Pause, II")

That's all I see.

Total time: 29"

Card VI
Jees' (very softly)
Looks like a hide. A

animal hide of some kind.

Total time: 27"

Card VII
These look like hands with
thumbs on 'em - with a fist
and a thumb stickin' out.
(Pause 25") Hm. The bottom
one- it - I can't figure out
what the sides are, but it -
it looks like it's got a hinge
connecting 'em. They just
like some kind of flaps or
something. Like they open

and close or something.

Total time: 50"

Oh, this looks like another butterfly.
(EQ) Right there (W) and that's his
head (D6), and the antenna, and these
look like little skis down here (D9).
That's all for this one.

This looks like 0 animal hide this whole
thing looks like it's hanging up. (EQ)
Ah, the way it's shaped. (EQ) It

has little designs on it like - and -

it's just the whole thing. Because

it's cut open and it's - it - just looks

stretched out, like an - animal hide.

Um. These look like hands, clenched,
with the thumbs sticking up like - if
this one looks like that, and that one
looks like that (gestures) (DI) and the
some down here. Um - the botton
(unintelligible) l was talking about
with hinge, which is that they look
like they - they'd shut, this way or
the other way. (EQ) Uh. Just --
Just looks like parchment of some
kind, but it's got a hinge between
the pages.

275

Card VllI

A10" Look like ice cream (laughs). Looks

AVAVA

>/\V

like a pelvis in the bottom, too.
(E encourages turning.) Oh, can
you? I didn't know that. The
things on the side look like —- rats
without a tail.

(Pause, 24")

The left one looks like a rat, but
the other right one looks like a
squirrel. (E asks S to repeat.)
The left one looks like a rat,

but the right one looks like a

squirrel .

Then, it looks like vertebra le -
leading up. And —- the same hinge
with the flaps on it. In the middle.
Then when I really look close it
looks like a - like the top half of

a head with a - and the light part

is like a gas mask. And the - the
rat and the squirrel look like they're
pulling the guy's hair - with the

gas mask .

Total time: 2' 13"

This one -- is - this looks like sherbet
ice cream, and. .(D2) (EQ) Mm. I -
it just looks like scoops of ice cream.
(EQ) The texture. (EQ) The color,
for one thing. (EQ - which more
important?) Mm Hm. (EQ) It's

mostly the color, I'd say. And this one
(unintelligible) it looks like a rat (Dl).
If you look at it this way, he looks like
- one foot's down there and one's
connecting, he's climbing. And there's
his head with an eye and the nose. And
this one - just - his face ma - if I didn't
look at it right it would look like a rat,
but his face looks like a squirrel's face.
And -- this one's where - right here, it
looks like a gas mask (D3) and these -
the animals look like they're stretchin'
his hair out, on either side they look
like they're pullin' it. Did anybod -
anybody else give you any of these
things? (E:"A little. ") Do they?

(E: "Every time you do this, you

hear some things you've never heard
before, and some things you have

heard before.") (5, interrupting)

Did you hear anything you never

heard before? (E: "There are always
some things, you know, each person

is different. ") (EQ - determinants,

animal.) The texture on the body.

A

276

Card IX

A 2i " On the bottom on the pink - see it -

>\/

it looks like two heads layin' down
and looking up.

(Pause, 16")
Then the whole thing - looks like

It looked like hair. (EQ - T or F more
important?) Um, the texture had a lot
to do with it. (EQ - determinants, gas
mask.) Because, these look like, um -
hm - the long part of the mask, right
here, and - these look like his eyes -
but they're closed. That's all. (E:
"Now, I think you mentioned something
else here, do you remember what that
was?") Did I? Umm. (Pause, 15")
No. (E: "You mentioned vertebrae
again.") Did I? Oh, yeah, now I
can see that. (EQ) Up there. (D3).
(EQ) Mm hm. (EQ) Because, the
way vertebrae are shaped. It just -
just the way - it comes through here.
(EQ) Mmm. It just looks like bones
comin' down. (E: "O.K., and, uh,
you also mentioned another hinge,
with flaps. ") Yeah, where did I see
that (to herself)? This looks like a
hinge, kind of, there. And they

look like hinges coming down there
(Dd2I). (E: "But again, you're not

- you don't have any specific idea

what the flaps would be?") Mm mm.

This one - this - these two look like
heads (D4) they're layin' down, look-
in' up. These look like eyes and a

nose and a mouth. And. . .it just -
looks like a huge insect with

277

a - the white part of it looks

like a breast -- of some kind

of a - a insect that's blown

up. Little antennaes comin'

out of the top. And it's - wings
are sticking out.

(Pause, 35") (Sigh) The green
ones - in the middle - right

in the middle. Uhm, it's sort

of opened up into - the position
that - the way the (unintelligible)
position it looks like a woman
that's about to have a baby, and,
how they've got --how the legs
are spread. And you look, and
you can see the opening. (Pause,
13") The legs look like they're
draped with some kind of a

covering .

Total time: 2'24"

its head up (W). Head back where you
can't see it, but you can see its anten-
nas (D7) and, that's his breast (D58) ,
his big chest, these look like his wings
(D3) , and the rest is the bottom wings
(DI). (EQ - heads - any particular
type) Yeah, they were men. (EQ)
Hm, the shape looks like a big head ,
a big face. Um, they look sorta bald -
just by the - the texture that's in there.
And, is that all you want to know about
the heads? (E: "Ah, if there's any-
thing else about them. ") There's
nothing, I was just going to go on to
something else. (E: "O.K., now,
back to the insect. The insect is
everything except the heads, I take
it?") Mm hm. (EQ - determinants)
The thing that ma - that mostly made
me think it was, was these antennas
sticking out. And when I saw those,

I just sorta made a picture out of the
rest of it. And, this looks like a
pelvis (Dl), but I was seeing it --

this right here looks like a - the
opening (Dd30)? Going into the
vagina - and these just look like the
legs are - spread apart. (EQ) Uhm. .
um. .these - these look like the lips

of the vagina, you know? Because -
because they're darker and the way

they're shaped? And (EQ - darkness

>/\

3""

278

Card X
Hm.
Oh, boy.
The top part - looks like a --
mm - an esophagus.
And, below that it looks like the
thyroid gland - on either side.
The middle, the blue part, is -
it looks like the pelvic bone.
The blue things on either side
look like crabs. The yellow, um,
below the bone, it looks - below
the blue pelvic bone thing. The
two yellow spots really look like
- dogs, kneeling down with their
hands - they're kneeling down
with their hands on the floor.
Their hands are higher than the
rest of 'em --And they're looking
up towards the pelvic bone.
(Pause, 9") Then the - the orang-
ish things on either side look like
fingerprints. (Pause, 24").
The green things at the top look
like - little bull - bulls standing

or shape more important?) The darkness.
(EQ) Mm. Ah. I didn't see this before,
though, but in - in the vagina - I don't
know, it just looks like it - it's some
kind of secretions or somethin' are
comin' out right there. (Pause, 13")

'5 all I see. Did I cover everything?

Oh, no, this is a long one (laughs)'.
Where do I start on this one? Um,
these look like crabs (DI). And that,

I think is that because that - just looks
like so many legs sticking out. (EQ)
This one, looks like he was reaching

to - grab something. These look like
his eyes, and they look mean, like he's
gonna attack something. (E: "What
makes him look mean?") The express-
ion - like - that his eyes carry. And -
this looks like an esophagus (DI4).
And - the thyroid gland looks like

it's on either side right there (D8) .
(EQ) (Sigh) Because the - mm, the
texture of the esophagus looks - makes
it look like it, and the way it, the
length. And the width. And. This
just looks like a gland to me out here
but - the texture. And the shape.

(EQ - texture or shape more important?)
Mm. The shape. 0k, these look like

- two little maple leaves (D3) . They
look like the little seeds are in there

279

on their - hind legs with their
feet up. And they look like
they've got a horn - on top -
of their head. And then um
the little yellow thing in the
middle looks like, um maple
leaves? (Pause, l4”) (Sigh)
Then the yellow things on the
sides -- uhm (sighed) they look
like - um - on the sides they
look like - a hand - a fisted
hand with a - finger pointing.

Total time: 3' 2i"

and they - (unintelligible) holding them
together. And (EQ - other determinants?)
Mm mm. Just all looks like a maple
leaf. And - these two look like - this
is strange but - they look like two bulls.
That looks like a bull (Dl2) and this
looks like his horn and his four paws
and it's kinda - like he's standing

on his hind legs. And he looks like
he's going to leap onto something.

(EQ - further determinants) Mm mm.
OK, these look like fingerprints (013),
and - (EQ) I think it's the cardboard
or something. It looks like its got
lines through it, right there. It's what
made me think of it. It doesn't look
like it's a complete fingerprint, it
looks like half of it. Uhm. These
look like another pelvis, right here
and -- right here (includes D6 and top
half of D9). (EQ) Uhm, this shape
down here (Dd34). This looks like -
the birth canal is coming through
.there, and just - it looks like the bone
of the pelvis. lt ha - it's got a lot

to do with the shape, though. These
look like dogs (D2). They're kneeling.
Their knees are right there, well they-
're kneeling there. And they're big.
They look like - like collies, this

one really looks like a collie. This

looks like more of a cocker spaniel.

280

(EQ) Um, their head and their nose.
Their tail an' a - their tails are coming
out. Just looks - their overall shape.
That's all, I think. (E - one last thing.)
(Laughs) It has to do with these things
on the side, I think that (DIS). Oh,

I know what it is, it's the yellow hand,
with the clenched fist, with the - oh,
this is strange, because this looks like
a - fist on here (D15), but then the -
this looks like a small fist with - a
finger pointing (brown Dd at bottom

of DIS) this one.

Total time for I0 cards: I5'I5"
This subject spoke very softly throughout.

TAT, SUBJECT C, PREMENSTRUUM

Card I. 4" It's a - little boy he's - his mother made him - work on his - music lesson -
which is - I don't know what you call those things. Um -- what kind of
instrument is that? I can't think of it. Violin or - no, the other one. Yeah, it could be
a violin. It is, I'm pretty sure. Anyway, the little boy is sitting there, thinkin' that he -
he really doesn't wanta -- play it, and he's mad at his mother because she made him. Um.
He just really looks sad, he doesn't - feel like doing it. (Pause, 31") Hm. He's thinkin'
of how he's gonna get out of his music lesson without really doing anything. And he's
gonna figure it out. (EQ) How did it turn out? Well, his mother walked in on him,
and found himSitting 'there,staring at it, and - she made him pick it up and play it. And
then she stood there and watched him - until he was through. Until she felt he was through.

Total time: I' 54"

Card 2. l0" Over on the right - it looks like a pregnant mother. She's lookin' over
the fields, as her husband plows. The man is - looks younger than her.
He's big and strong. Ah. . .the girl on the left. She's on her way to classes, and -- she
doesn't look y - young enough to be that woman's daughter. She could be her sister. Or
she just could be passing through - the fields, on her way home from school. To school.
The man is yelling at the - horse to move - and to pull - the plow. He looks as if he's
gonna strike it. And the pregnant woman just stands over and watches. She looks tired
and - she's resting up against a tree. She looks like she's just tired from her chores and

she needed - some fresh air. --Um.-- That's all.
Total time: I' 55"

3 BM. Hm.
7" This looks like a - little boy. He's all crumbled up and crying against a -
bench. And - I can't tell what's layin' on the floor, it looks like a little
gun of some kind. He could have shot something. And came in and cried because he
really didn't mean it. And he looks realty sad and dejected. The outcome of this thing
I think would -- be that I think if he had shot at the someone that the police came and got
'im and talked to 'im and let 'im free, but - he still didn't - feel well - he didn't - he

still felt guilty about killing - whoever he killed.
Total time: I' 8"

an'!

282

3 GF. 6" This one looks like a woman. She just left - her house, she's walkin' out
the door, her husband's in there with another woman. And it's really dark
and - she came home unexpectedly and she saw -- her husband in there. And she's really
upset and she's crying, and she doesn't know what to do or where to go. And she doesn't
understand how he could do it, she's just a young woman, they've only been married for

a couple of years, and she's got a little baby.

Total time: 57"

4. l8" This woman looks like she's holding her - husband back from -- hitting
somebody or - being angry about something. He looks more like he's
gonna hit somebody and she's pulling him back. - And, in the background it looks like -
some girlie magazines or advertisements. That he was just lookin' at and - somebody had
come up behind him and - said something to 'im that upset him, so he turned around and

was -gonna hit 'im. (Pause, I9") (Sigh) (Pause, l0")

Total time: I' I4"

5. 4" This looks like a mother coming into the bedroom for her - child. And.
Probably for morning to get up - to get ready for school. And. Mm.
(Pause, II") As she walked in the - she found out the child was doing something that, -
ah--she didn't like. And she couldn't understand why he was doing - and she's just
watching him. (Pause 9") (E: "How will turn out?") (Laughs) Ah, what I'm seein' -
or what I'm thinking - well, first of all she came up to call him for breakfast and as she
walked into the room unexpectedly, she just opened the door without knocking or anything,
and he was sitting in his bed masturbating. (Laughs) That's strange, but that's the way I
think of it. And, she scared him, and - she's - she's upset for - seeing him doing it, and
she doesn't - understand why and she doesn't say anything to him, but she just makes him

feel bad by the look she gave him and the way she walked out of the room.

Total time: I' 50"

283

6 GF. I2" (Sigh) This woman - looks like she's playing some kind of a phonograph,
and - her boyfriend or husband -- is lookin' over her shoulder because

she doesn't know how to work it, and he's gonna help her. And she's telling him that -

somethin's wrong with it and she doesn't understand how to work it. And so he's givin'

her some ideas.

Total time: 45"

7 GF. Ah.

IO" This looks like a maid. Maid looks like she's talking to the little girl.

and the little girl had a baby. And she's really awfully young and she

thinks of it as a doll. She doesn't understand that it's a real - a real baby, and she
doesn't under - really understand what happened and how she - had the baby and — who
made her have the baby. An - who what she did to make it have the baby, and -- and the
- maid wants to take the baby from her so she doesn't drop it. Because the girl thinks that
this thing's just a doll and she - she'll get to set it down like a doll, but it's not. The
maid is just keeping - really keeping an eye on it so - it doesn't roll off the girl's lap.
The girl really looks sad. She's thinkin' oh what's she's gonna do now that she's had
this baby. She still didn't understand how to care for it or anything but. . .She's just

confused .

Total time: I' 38"

8 GF. 8" This woman is thinking - of getting married. And she's just thinking - of
the man that she really loves - and how happy they'd be together if they
were together all the time. And -- they have conflicts. Because she's - working, and
he's - going to school. And - they have to wait till he graduates. And she's just hopes,
that she can - She just wants to get married and get away from everything. -- Not that
it would get away from everything but just - so that she would be much happier living
alone - or living with her roommate. -- I think she does have a roommate. --But nobody
understands and she's afraid to tell her - her boyfriend how much she wants to marry him.

(As she hands back card) That was weird.

Total time: I' 26"

284

9 GF. Hm.

18" The one woman in the comer - in the long corner, she looks like she's

running - to catch somebody that stole something from her. The. . .huh. . .

She was washing some clothes by the lake and they - ran away with them when she turned
her back. And she - it was just a little kid and she's - calling him and telling him to
bring it back, and she's running after 'im. And the girl above her is her sister, and she
had just come down to the - to -- to the river to - study and to wash - something out.
And - her sister is watching her as she is just coming down the hill and she's watching her
sister run. Her sister is running so fast she didn't get a chance to say anything . She called
to her, but the girl couldn't hear her, she was running. Now all she could think of is -

catching that little kid that took her clothes.

Total time: 1' 33"

I0. 9" This looks like a mother and her son. Her son is embrancing 'n - her, he
just got out of prison. And she's crying, she's so happy to see him.

He's been in for - many years. And she's just so grateful to have him back.
Total time: 31"
At this point, further instructions are given for cards II-20.

II. 2" Oh, no (laughs) 90'.

I3" This looks like the - edge of a mountain. And - these people are traveling?

on the mountain and there are bats flying overhead. An' the - there -

there's huge sides all around that they - they cannot get out - but they're wa - they're
just walking in the middle, and they can't find their way out, and they're crawling around
tryin' to find a place to get out and they can't. And that - they're - they know they're
gonna die but they're just seein' if they - can just find at least a little hole to crawl out
of. --And below 'em there's a big cavern - a big - a really really deep - empty - there's
- they can't - can't see the bottom and they keep drop - droppin' rocks down and they
can't hear 'em hit the bottom - because it's so deep and it's - they're just so afraid that
they might fall in there and they - they could never find 'em. (EQ) (Laughs) Um. There's
only two people. And--they were fighting for food, they were eating the bats -- and -

there weren't any insects, but - there were bats going through, and rats - there are rats

285

and they ate 'em - raw. They didn't even take the hair off of 'em. And - pretty soon
there was no meat left - and - one of 'em - he fell one day, and hit his head against a
rock and it - killed 'im. And the other one was so hungry before the meat was gone,
that he ate 'im. And then - he died. Not from eating 'im, but he died - after because

he didn't have any water.

Total time: 2' 20"

I2 F. Ooh'.

7" This woman in the back looks like a witch. And in fact, she's thinkin' of

something evil to do to this pretty lady. And the lady doesn't know it,

she thinks that this - the witch is her friend. But the witch is evil, and she wants to kill
this girl - and take her head. And with it she wants her face, and she wa - she wants
her face to become - she wants the pretty girl's to become her - um - face. And she's
just going to keep her own body. She hasn't decided how she's gonna - take her face.
And she's still think in' of how she's gonna kill her. (Pause, 23")

Total time: I' 23"

I3 MF. l3" This one it's - ah, this man came home from work -- and he came in the
bedroom and his wife was - retching and she was - so sick. And she was

crying and he didn't know how to help her, and - she died in his arms. Of a - illness of

some kind. And. She's so young and they haven't been married very long. And it - just

the loss of her is just - is tearing him up.

Total time: 58"

I4. 5" This is a man, he's sitting in the doorway down into the basement. And
he's reaching for the light because he's scared to go down there by himself.
He's really scared. And. He hears something as he's sitting there. Which makes him
hesitate from going down the stairs, and from turning the lights on. He's just waitin' and
listening to see - hear if he hears anything, and then when he gets down there, he decides
to go down without turning the light on. And when he gets down there, um--he hears a
noise, and he's standing at the foot of the stairs, and then all of a sudden -- somebody

from upstairs, threw - something down the stairs that crushed him. And who are - and -

286/ ;. "

the man that was downstairs - made sure that this one - guy was dead, and he came up the
stairs, and -- he took the man that was sitting in the stairway, he took that man's wife.

It was planned that - this man was going downstairs, and this other one would hide down
there because - this man's got a workshop down there and he was goin' down to work in it.
And the man downstairs - was hiding--because it - it was routine: that this man came down
here and worked all the time, and so - the man's wife and the man in the basement -
decided to kill 'im. So they could be together. And say that it was an accident - that -

he slipped down the stairs, and somethin' on the stairs fell - and crushed him.

Total time: 2' I8"

I5. 8" This is a real evil man. And he's gonna dig up the grave of - of an enemy -
one of his enemies. It's a man. And. He's gonna dig it up and - he's

gonna leave him in his room and watch it rot, and see how long it takes it to rot. And

what it loo - and what it looks like while it's rotting. Cause he really hates this man

and he just wants to see him rot to death. - I mean , not to death, but rot while he's dead.

(Laughs)

Total time: 54"

(Further instructions given for card # I6)
16. Uh.

20" I'm getting a picture of all this smoke coming out. It's all - it's really

billowing out. It's real fuzzy smoke, and you can't see - through it very

well. And below a house is burning. And. The mother - and her babies - are burning.
And the father's at work. And he doesn't know that it's going on. And -- the babies are
screaming. The mother's already dead. And the babies are just screaming as the - as the
flames are burning 'em up. And the smoke is choking 'em. And nobody can get to 'em
on time. And they just burn up. And the father comes home and see his whole family
and his house gone. And he's just - breaks down and he's really destitute. And -- he
hates himself because - he wanted to work this day, and - it was on overtime - work, he
really didn't have to go because it was Sunday, and - he just didn't want to sit home -
because the kids were - sick and they were - crying all the time. And he didn't want

to sit home and listen to 'em cry. So he - went to work, and now he's really sad that

they burned up and he's - he feels really guilty.
Total time: I' 58"

288

I7 GF. I5" These are - this is in a na - a native country - and they're slaves. A man

is watching the slaves cart in cartons of - food - from a boat, and - supplies
to finish building the - the palace that they're building. And the f - the fort that they're
building, it's not a palace. But - he was just ordering the slaves to bir - to bring the food
in. And meanwhile , his - girlfriend is standing overhead, listening to him. She sneaked

through the night, and she's gonna sneak in - his room when the slaves are gone.

Total time: t' 10"

I8 GF. 4" This woman is crying. This - it's her daughter she - she's holding onto her
daughter, she has a broken neck. She - came running down the stairs
and tripped and - fell and broke her neck. And the old woman's trying to hold the neck,
and the neck is just - limp and the body is limp. And she's crying --She called her
daughter to the phone - and -- that's -- about it - the girl's excited and - fell down.

Total time: 45"

19. I3" This looks like a picture in Alaska. With the ice all around and the snow.
And - it looks like a little - igloo with - round windows, and a penguin

in the picture, in one of the windows, and. . .Oh, in the other window - it's - got curtains,

and it - just shows the other part of the house. S'igloo, and at the top is a dtimney, and,

um -— it's nighttime and - there's somebody lurking behind the house. And since the

windows are open, he's sneaking around. And he's looking in, and somebody's home,

the lights are on. And he's sneaking around, and he's gonna - break in and steal some-

thing, 'n ki - possible kill the people if they don't - let him steal what he wants, and

if they find out if they did it he. . .

Total time: I' I9"
20. 8" This is a really lonely man. He's in a park. And he's so sad. His wife is

in the hospital. And ' he just came to - from seeing her and the doctor
said that - she had cancer and they didn't have much hope for her. And he's so sad - h -
he's elderly, he's in his seventies. And - his son and daughter are married and they're -
like for - well, they're in - Europe. And he's all alone. When - he'll be all alone
when his wife dies. And he's so sad.

Total time: 50"

2H

7"

5H

RORSCHACH, SUBJECT C, INTERMENSTRUUM

Card I
Are these the exact same ones
that I saw before? (E: "Do
they seem like it?")
Yeah.
This one looks like - (um,boy)
(softly, under her breath). This
one looks like a butterfly.
And it looks like a pelvis.
Mm. That's all.

Total time: 25"

Card II
This one has a butterfly at
the bottom, in red. And.
Um. This looks like two
insects on top, fighting.
Like, um, let me see, not
grasshoppers, but - yeah,
grasshoppers it looks like.
And it also looks like a
pelvis. And - it looks like
a man's face with a beard on
each - on each side with his

nose in the middle.

289

This one was a butterfly and a pelvis.
(EQ) O.K. These look like the wings
(D2), and the body (D4), and these
look like the - antenna (DI). (EQ)
These look like the eyes (Dd22). (EQ)
No. (E: "O.K., and the pelvis?")
Um. This whole thing just looks like
the bone of the pelvis. (EQ) The way
it's shaped. And (Pause, l3") And
(unintelligible) it's shaped like a
pelvis. (E: "Just the shape, nothing
else about it?") Mm hm. (E reaches
to take card,sees S is still looking at
it.) (E: "I don't want to grab it a-
way from you. " S laughs. "Anything
else?") No, that's O.K.

Ah, this - looks like two insects
fighting (D2), and, you know, with
their arms and - everything up like
they're in combat. And. This looks
like a butterfly. (E: "Anything else
about those - remind you of insects?")
Um, just the way they're shaped, this
looks like this is like their big head
(upper portion of D2) and arms

(Dd..of D2). Just, I don't know, the
way they're - facing each other, it

just looks like an insect. Um this

290

Total time: 47" this down here looks like a butterfly (D3),
um, the wings, and body, and the shape
make it look like that. (E: "Anything
besides the shape?") Um. (S looks at
card, says something too soft to be
heard) (E: "You mentioned, I think
when you first mentioned it, you
mentioned that it was re d , was that
important in making it look like a
butterfly, or is that--") Mm hm. I
almost said that - that it was red, but
I didn't know whether that makes a
difference. (E: "Can you tell whether
it would? Can you picture it - as if
it were a different color?") If it was
dark - if it was dark it wouldn't look
like a butterfly, but since it's red it
does look like a butterfly. (E: "You
think it does, O.K.") Mm hm. And.
This looks like a man's face, with his
eyes there (Dds30), and his nose (D4),
with the beard on each side (DI).

(S hands back card). (E: "I think
there was something else there too. ")
Oh, was there? Hm. Oh, yeah, it
does look like a pelvis, too. (EQ) I
don't know, the sides - these sides
look like it. Mostly it looks like it
upside down. (EQ) Just these parts
in here (D6). (EQ) Um. The way
its - these just look like the bones

A 12"

V

29]

Card III
This one looks like a pelvis.
Um. (E: "You can turn the
card if you want to. ") Yeah,
I thought so. This is a - this -
upside down it looks like a --
(sigh) a man's face with a no -
uh - and a big nose at the top.
And - with a bow tie.
Hm. That's all.

Total time: 49"

of the pelvis, the way they're shaped.
(EQ) (Sigh) Nn. nn.

This one looks like - a pelvis too.

(EQ) These are the sides - it's a

little - stretched out, but, it looks like
it the way it's shaped (DI). (EQ) Just,
um, I don't know the shape - it - it's so
stretched out of proportion so, just the
sides and all it - the way the bones -
kinda the shape and the leg (D5), it
just looks like a pelvis. And this -
looks like a nose - of a man - up here.
This looks like his face, and this looks
like a bowtie. (EQ) Um. Well, you
can't see all of 'im all you can see is
his nose, really. (EQ) This dark thing
right here (D4) on either side look like
nostrils. (E: "Oh, I see, so you'd be
looking like - head on, at the nose. ")
Yeah, (EQ) This is what it looked
like to me, because it's a - kind of -
this is the light and - it's so dark in
there like it's like a little cave, or
something, kind of. And. (E: "Any-
thing besides the darkness remind *you
of that?") Well the little - membrane
like down the middle (D8). Makes it
look like a nose. And the general
shape looks like it. (E: "Do you

think the shape or the darkness was

more important in making it look like

><>

A 2"

292

Card I V
This looks like - another uter -
a not uterus, but a pelvis.
Pelvis, and, um, at the top it
looks like - fallopian tubes

on each side. Um.

Total time: 35"

Card V
This looks like a butterfly. With
skis (laughs).
Boy, I'm not giving you very much,
am I? (E: "Well, if it's all you
see, that's the main thing. ")

Total time: 12"

that?") Mm. Boy, it's hard to say.
I think they both contributed, I don't
know which would contribute - more
though. I'd have to say the shape.
(E: "OK. ") OK? (E: "All right,
let's see, I think there was something
else, too. ") About the bow tie?

(E: "Yeah, right.") Yeah, it's right
there (D3). (EQ) The shape. (EQ)
Hm mm. Just looks like a bowtie.

Hm. This is another pelvis. (EQ) This
whole thing. This looks like the: tail-
bone coming down here (DI). And.
Actually, I said these look like fallop-
ian tubes (D4), but it - I don't know,

it - I think it looks like the infundi-
bulum or something like that (unintell-
igible), the ipsicsia. 'N just the way
they're shaped 'n that - make them look
like that. (EQ) No.

This one looks like a butterfly on skis.
The butterfly (gestures over card) it
looks like the antennas coming loot
there (D8) and this is his head (D6),

and here are his legs, he's got little

skis on (D3). (EQ) Mm hm.

A

A 2"

V
A

9!!

293

Card Vl
Looks like a hide. Some kind
of animal hide.
Boy, I'm sure not seeing very much
in these. (E: "Nothing else on

that one?") Nn nn.

Total time: 24"

Card VII
The bottom - part looks like a
-- looks like two parchments
with a hinge between 'em. And.
The other things going up just
look like a fist with the thumb
sticking up.

Total time: 39"

This looks like a hide. A animal hide.
Just from the shape, these look like
the legs (D9), this is the arm (Dd25).
Just stretched out, hangin' there. The
shape, the color. (E: "The color?")
Mm hm. Different shades in it - make
it look like 0 hide. (E: "Any particu-
lar kind of - animal?") Mm, when I
looked at it this way (V), it looked
like um -- :looked like a fox, but I
don't know why, the head sorta looks
like a fox. But the - body looks too
big to be a fox.

This one looks like a hinge with parch-
ment. Here's the hinge (D6), and the
pieces of parchment (D4), and, these
look like fists, (E: "Just a minute,
what makes it look like - parchment?")
Yeah, because the way it's shaped,
the edges - are sorta - irregular. (EQ)
Because it's dark, it's darker in the
middle and gets lighter on the sides.
And this was the hinge. (EQ) Cause
it's dark surrounded by light in the
middle. And it's just shaped like a
hinge. (E: "OK, and then the fist?")
Yeah, the fist is up here - fists with

a thumb stickin' out of them. (EQ)
Thumbs stick' up here (Dd2l), held by

A 4"

294

Card Vlll
This one looks like sherbet (laughs).
Looks like two rats - a rat on
either side. And. Thi -'-the top

looks like a - guy with a gas mask
on. And.

Just looks like — lumps of ice cream.

Total time: 35"

the hand, this one's like this (D3), this
one's like that (DI) (gestures with hand
to imitate shapes on card.) (E: "Ah,
so they're double, I mean like there's

four of them all together. ") Mm hm.

(E: "You hold your hand like that,

obviously it has to do with the shape,

is there anything else about it that re-

minds you of that besides the shape?")

Hm mm.

And this looks like - a head, with a
gas mask (D4 and D3). (EQ) I don't
know, the sh - well, the shape again,
and these look like the nozzle, and
the nose, the lines going through (D3),
like a hose or something. And. That's
all I can say about the - head. And
then I see - these look like rats on the
side (DI). (EQ) The texture on their
body, and they look like they've got
eyes. And the light color. The tex-
ture stands out the most though - makes
the rat. And. These look like scoops
of ice cream (D2). (EQ) The texture
and color, the light color. (E: "Do
you think the texture or the color is

more outstanding on that?") Texture.

(EQ) No.

A 5"

><

295

Card IX

Pink on the bottom looks like -
two heads, one on either side.
And. The white part - it looks
like a big - insect of some kind
with its chest sticking out, and
its antennas on top.

And the green part looks like a

pelvis.

Total time: 5 "

This looks like -- two heads on the
bottom (D4). And. This look a - this
one looks like a - (too soft to be heard)
insect, with a broad chest. You can't
see its head, but these look like its
antenna stickin' out (D7). (Phrase too
soft to be heard.) (E: "OK , now with
the heads, um, what kind of heads were
they?") Of men. (EQ) I think the
shape, and - the texture. (EQ) They
look like m - more like men than women,
their heads - they look - like - they're
fatter than a woman's head. (E: "OK,
now the insect, this is his chest LDsSI,
what else is included in that?") This is
his antenna, but you can't see his head
(unintelligible phrase). (E: "Is this as
though you were looking - from an
underside view?") Mm hm. (EQ -
location - only D58 and D7 included

in percept.) This looks like a pelvis
(DI). (EQ) The shape of the bone
structure, makes it look like it. And.
I saw this before, but I didn't mention
it. Um, to me, ldon't know, this
looks like ---um--l'm tryin' to think
(too soft to be heard.) Um---how can

I explain this - oh --- but I see it
away from these pelvic parts? But

it - to me this looks like a vagina,

A3”

296

Card X
The blue ones on either side
look like crabs. And. There's
a maple s - seed in the middle.
At the top the gray part looks
like an esophagus. Um. With
the thyroid gland around it. Um.
The yellow things - down at the
bottom - look like - collies, dogs.
And at the top, the, urn, green
things look like bulls. And. The -
the - blue and the - red part look

like, um, likea pelvis. Mm.

Total time: 1' 8"

kind of, in there (Dd30)? And -- the
darker green looks like - um - the lips
of the vagina. Not the vagina but - um,
- like the labia major and minor?

(E: "And so that - that's like a sep-
arate picture - from the pelvis?")

(E: "Anything else about that? Is
that - is that mainly the - the - you
speak of the darkness and lightness,

is that the main thing, are there any
other things that make it look like
that?") Um. Shape again, (phrase
unintelligible) and there's like a hole
back here (Dds on either side of Dd30) .
(Phrase too soft to be heard.)

(Phrase too soft to be heard.) Um.

This one looks like a maple leaf (D3).
(EQ) The color, especially. (EQ)
The shape. (E: "You think the color's
more important?") Mm hm. OK, now
let me see. These look like two bulls -
on either side (D12). They look like
that - it's their shape, mostly, but -

it looks like they're standing on the
edge of something with their arms up.
(EQ) No, these look like horns stick-
ing up (Dd), that's what made me think
ofa bull. But that's all. It's just

the shape - mostly. And. These look
like collies down here (D2). Two dogs -

With their feet, four feet and their tail

297

and their heads - pointing upward and
their nose pointing upward. And just -
the color and the shape - make it
really look like a dog. (EQ) - color
or shape more important.) The shape.
OK. Um. These look like crabs, these
blue things (DI) (EQ) Um - I don't
know, these all look like legs coming
out and - this looks like a - the way
the arms are extended out to grab
something, but it - it doesn't have a
claw on the end of that one, reaching,
but on some of 'em they look like claws.
You know. And. Just the shape.

Even the color makes it look like a
crab. (Phrase too soft to be heard.)
And this also looks like a pelvis (D6).
This blue part looks just - it looks like
the pelvic bone, only it's upside down.
Just looks like it by its shape, and--
the way the bones are. This looks

like an esophagus (D14). It looks

like a tube coming through here.

With the thyroid gland on either

side (D8). (EQ) Um, the general
structure. (EQ) I think the color

has to do with it, I again. Yeah, I
guess it does -- but, structurally -

is more than the color. That's all

I see. (E: "When you said that the
blue and the red part look like a

pelvis, you meant here, just where

298

it attaches to the red?") Mm hm.

(E: "You're not including this whole
thing [D9]?") No.

Total time for 10 cards: 7' 37"

TAT, SUBJECT c, INTERMENSTRUUM

Card 1. 5" Um. This little boy - he's thinking that he doesn't want to finish his music
lesson. And his mother keeps harassing him, 'n she's been yellin' at him
all day to finish his lesson 'n he just is really tired of it. Um. (Pause) He's just thinking
of ways he can wreck his - instrument, so he doesn't have to play it . And he hasn't
really decided how he can make it an accident without getting blamed for doing it on
purpose. (E: "How does it turn out?") How does it turn out'. Oh, well lemme see -- Huh
. .Hm. . .I don't know how it's gonna turn out (barely audible). (Pause, 17") I can't even
think (whispered). (Pause, 25") God, I can't think (very softly). I guess he'll get rid of
it by stepping on it, and breaking it. And falling offa chair or something and he fell on
it accidentally and broke it - just as his mother would walk in the door to - harass him.

(E: "And then will - will she blame him for it?") Mm hm. She thinks he did it on purpose.

Total time: 2' 10"

Card 2. 11" Mm. This is a story about a - ahh - man tilling the soil with his - animal.
And. While his wife looks on. His pregnant wife, she came out to the
field, it was really hard for her, but she didn't have anything to do, so she just walked
out, and watched him till the fields and watched him - um, get tanned and burnt from the
sun, and the sweat, and everything. And as they - as she was watching, a pretty girl -
walked by from school. She was just passing through. (Pause) She doesn't even pay any

attention to the farmer and his wife. She just passes by.
Total time: 1' 13"
Imagination - there's no imagination at all.

3BM. I must be tired or something, 'cause I can't think of anything. (E: "Well,
just take your time. ")
13" Ah, this looks like a little boy crying. He's - playing up against a - ah -
some kind of a long-bench. And it looks like a gun is laying there - on
his - left side. He looks like he - committed some kind of a crime, like - he killed
somebody, and -- I'd say he killed one of his little friends, for - over a little simple thing,

over a - baseball mitt, or something small. And he just killed him, and he's really sorry,

and he doesn't understand what he did. And the police come and - ju - they put him in a

299

300

reform - school school or a delinquent home. And. He just grows up. Um. Being
shunned by society like a - a deviant. Society. And he's mentally depressed and - he -
has breakdowns and everything. He really just can't get over the killing - of that little

boy. Has so much, um, abuse from society after he committed the crime.

Total time: 1' 43"

3GF. Oh, I already know this one.

4" This girl's coming out of the room - out of the bedroom - she just - um - see,

what did she see? (to herself) . (Pause) Her baby died, and she's just

coming out of the room after the baby had died. And - the baby just died of a crib death
and it was nobody's fault. It was just a shock to her it was her first baby. And her husband
left her and - she - all she really had was this baby left. And then she walked in to see
that it had died and - she's really upset. And she doesn't know where to turn or what to do.
(Pause) So anyway she keeps the baby. And she buries it. And -- she never marries again,
and she never - has any more kids, and she just - broods over her baby for the rest of her
life. She doesn't have any friends, she just lives her - as a hermit until the day she dies.

And she's full of self pity -- that's all.

Total time: t' 35"

4. (Sigh)
16" This woman is holding back -- her husband from getting into a fight with
another guy. And she's tryin' to reason with him. He - he wants to fight
over a - um -- some -- transaction that they had that the guy - um - pulled a fast one on
'em. And the guy is really upset and wants to kill 'im and he doesn't even hit him, he
just -- she just holds him back and talks to him and reasons with him and - he decides that

it's not worth it and - the other guy just takes off.

Total time: 1'6"

301

5. 7" By the look on this mother's face - she's walkin' into a little kids room.
And. (Pause) She's makin' sure that - the little kid's all dressed up -

for her sister's wedding. And she's just checkin' on 'im to make sure he's puttin' his suit

on, and everything. Which he does, and - he comes down to the wedding, and everything's

fine. But she's just checkin' on him to see if he's dressed - up OK.

Total time: 40"

éGF. 6" In this picture it - looks like a - a man just caught his wife - um - snooping
through his valuables. She's looking - through um - looks like some kind

of a stereo or a chest or something - old fashioned and she was lookin' through it for some

- um - for - any letters or anything that he received from the other girls or anything.

She - she's just checkin' up on him. And he catches her and he told her - to keep her

hands out of his stuff. And he reprimands her and yells at her and everything and -- from

then on he locks all his stuff up and she can't get into it.

Total time: 53"

7GF. 4" This -- this is a picture of a little girl. She's about ten. And she had a
little baby. Y'know, but she doesn't understand how she had it or what it -

is, she just treats it as a doll. And the maid - sitting next to her is - trying to help her
take care of her baby. But the little girl still doesn't understand it. This little girl - was
reared by her father - and - nobody - really knew how she - and neither does she know,
really, what happened that she had the kid. And. Um. Uh, finally -- they had to take
the baby away from her because she can't take care of it. And her mother doesn't want
any part of it. So, she just gives up the baby, and they get her a big doll, and - she -
she doesn't see that much difference in it, and she loves the big doll just as much as she

liked the little baby.

Total time: 1' 8"

302

8GF. 7" This woman looks like she's in poverty. And she looks like she's just really

sad, and depressed about living in - in this slum, that she's living in - in a
crummy house. And she doesn't know - what to do with her kids. She's got about five kids.
And her husband left her and she's - not collecting any welfare and she doesn't have any
money at all - no income. And her children are - malnutrition and they're skinny and -
weak and she's thin. And. She doesn't know where it all started or - how it's gonna end.
And she's just sitting and thinking about all her problems. She doesn't know where to turn
or - what to do. (E: "How will it turn out?") (Laughs.) Let me think, I'm tryin' to think
of it. Um - finally she gets ahold of the welfare agency and they take care of - the kids,
they find foster homes for the children. And. Uh, they give her some relief. And they
try to find her husband that left her. To have him pay her - some money. And they find
that he's married to some rich - lady, and then - she gets support from him - after - they
find him.

Total time: I' 35"

9GF. 5" Ah -- the bottom girl - is running after -- um - some little boy that stole
the clothes she was washing down at the - at the river. And, overhead
her sister looks on, she just got out of school, and she was passing through: the woods, and
she stopped by the stream and - saw her sister running, and she's calling to her, but her
sister's so mad she can't hear her, and she keeps running after the little kid that took the
clothes. She finally catches up to the clothes, the kid threw 'em behind. She never -
catches up to the kid and he just - keeps running. And - her sister just runs down laughing
and - ah, she thought it was so funny watchin' her run. And the girl - the other girl is so
upset she starts cryin' from running so hard. And the other one just laughs. She thought it
was funny.That he took her clothes.

Total time: 59"

303

10. 3" This looks like an older son, hugging his mother -- his grandmother I guess
it's his grandmother. And. He's comforting her because - his grandfather
died, and she' so sad. He just came from a - from - home - on leave from the service,
and she hadn't seen him in a long time and - she's so grateful that he would come home to -
take care of her until the funeral arrangements were made. And find her a home to live in
a - smaller home. Which he does, he gets her all settled after the funeral, gets her
calmed down and has a lady stay with her, pays a lady to stay with her as a housekeeper, 'n.
And to keep her - company. Then he - leaves for the service and - he - writes her all the

time, and she writes - to him too.
Total time: t' it"

At this point, further instructions are given for cards 11 — 20.

ll. Mm. (Holds card sideways, then rights it.)
Mm.
14" These look like exp - there were three explorers, going into this — they're

going way underground and they're traveling - right - close to the middle
of the earth. And above them there's a dragon coming out - some kind of monster coming
out of the cave -- and he's - he's looking down at the - at the two men that are left, and
they're looking down at their buddy that just fell down the - the shaft, he's way at the
bottom, they heard him - they heard there must be water down there, 'cause they heard
this big splash when he fell. And. As they - as they're turning around after looking they
hear this noise and they turn around - and they see this big - monster - like thing with
webbed feet. Coming out of the cave, and coming straight at 'em. They're scared and
they're cra - scrambling around on their hands and knees, trying to find a place to hide.
And. Um. One of 'em escaped, he hid behind these huge rocks, and the monster, as
much as he tried, he couldn't get to 'im. But the other one - wasn't quite so lucky and -
just as he was about to take his own life and jump into the - shaft, rather than be eaten
alive, ah, he just went to jump and the - monster grabbed him by the leg, and caught 'im
and ate 'im. But - the man that hid behind the rocks eventually died. After a month
without food. And the monster - just lingered by, just watching - the man dying, and
couldn't get to 'im. And, eventually the monster leaves and - goes to find other prey.
And - all that's left of the other man is a skeleton and skin.
Total time: 2' 5"

304

12 F,. 12" Hm.
15" This is a evil woman standing behind - this - this ugly woman and this - the
the young woman, ah, has been changed - from a man to a woman by this
witch. This evil woman, changed her, and - she still has the - the mouth of a woman, but
she's got - and she's got the eyes of a woman, but - the eyebrows are like a man, and her
hair, and the baldness of her hair look like a man, and - her heavy features - look like a

man.

Total time: 60"

13 MF. 30" This - guy came home - from work - and found his wife - had taken an
overdose of - barbiturates. And. He's really sad and he - and she left a
note on the table, saying that - she couldn't take it any more, and she couldn't take - the
way he - he beat her and yelled at her and - how he beat the kids, the w - they have three
children. And she just said she couldn't take it any longer - and, and, he just stood there
and cried. He couldn't believe it that he didn't - he had no idea that she was gonna - do
anything like this, and - when he walked in (yawns) the kids, had just had it - they still
had their pajamas on from morning, and this was five'o'élock.at'night,’and they hadn't
eaten and the house was a complete wreck, and he couldn't figure out what happened until
he saw her. And - there was no hope, she was dead. He called the hospital and they
tried to re - re - rescussitate her, but they couldn't. And. He was just really heartbroken .
He puts the children - he sends the children to his family, to his mom and dad, and they
take care of them. While they - while he - makes the funeral arrangements, and puts his
wife - to rest. And then he goes back to work and - within a year he falls in love again,
and he marries a a woman - quite younger than him, and she takes care of the children,

and they live happy - after that.

Total time: 2' 14"
(S yawns again.)

395

14. 2" Oh, this looks like a man sitting on the stairway at the top of the basement
stairs, and he's going down and - he just turned on the light which doesn't
work, he's reaching to turn it on. And he's really scared of what's - down there, that's
why he's trying to get the light on he doesn't want to fall. And - he heard a noise - and
he thinks somebody's down there. So he's really careful. Eventually, um, he gets the light
to work and he - he goes down there and he sees blood at the bottom of the steps - and um,
blood leading all the way to the coal bin. And - inside the coal bin -- he sees -- an older
man, well, he's about in his thirties, but he sees, um, his mother; she's - bound and
gagged and she's - she's chopped up. Somebody - tried to k - somebody broke into the
house and - they stole - some valuables, and they killed her (unintelligible word) and they -
chopped her up and --. . .And he 'just went hysterical, and he called the cops, 'n - they
came. And they investigated and found that - that it was his, um twin brother. That killed
his mother. And that was because she was, um, possessive, and she wouldn't let him --
date, or anything, she just wanted him all to herself. Whereas this other man was married,
and he had his own kids. But she - she just wouldn't let this other one go, and he couldn't
stand it much longer. When he actually did fall i - finally did fall in love, with this young

girl, his mother wouldn't accept it, and so he killed her.

Total time: 2' 8"

(S yawns)

15. 9" This looks like. . .Mm.

27" This looks like one of the spirits came out of the graves. And. He's evil.

He was murdered by the -- um - by the little people - they were little tiny

people that inhabited this place. And they killed this man because he was evil. He used
to cast spells on people and they really worked. He cast curses on families - whole
families, and the families died of horrible deaths and he used to torture people and every-
thing, and so these little people got together and - and they murdered 'im by -- um - re -
reversing one of his spells that he cast on somebody else, and this killed him instantly.
And they buried him and he returned - to haunt them. And he just - and he continued to

curse 'em, and their families still kept dying of horrible deaths.

Total time: I' 43"

(Further instructions given for card #16.)

306

16. 5" OK. I see...
16" I see a wedding. And. . .The girl is really beautiful, and the guy is really

handsome. And. They're very , very happy. And in the background, the
groom, his brother - is - very sad, as he and his wife, who have been married only three
or four months, just split up. And she had - they had a divorce. He's just sitting there
thinking of - what's gonna happen to his brother and he hopes the same thing doesn't happen
to him. The groom's father - hates weddings, and he's (laughs) and he's just sitting there,
bo - he couldn't wait 'til it got over with. And. He only stayed at the reception a few
minutes, and he took off. And. The groom's mother - is going wild. She's crying and
going nuts. And - the bride's mother is just - she's happy, but she doesn't show'it. And.
Anyway she's relieved - that her daughter is - going away. And - urn - the bride's father -
is very quiet and reserved about the whole thing. And he's - happy in his own way that
his daughter is married. And -- the bride and groom get along great - for years - and years.
And - they have two kids -- and -- they just - they live in dinky little houses and apart-
ments and trailers, and just acquire all kinds of material things like cars and stereos and -

they're really happy with each other.

Total time: 2' 27"

17 GF. 9" Um, this looks like a picture in Africa, or something, the thatched roof --

um, building. Anyway, this girl is overlooking - these um - these thééfs
that are bringing in cargo off the ship - it's way out in the ocean and they're bringin' it in
in a little ship. And. They're smuggling - all d - kinds of drugs and everything and - her -
her father is prominent in the town, and he's a - he's a big law enforcer and she's just
watching these men - steal out - and carrying all this stuff, and she's watching where they
put it. And eventually she tells her father and he - has the people arrested 'n - gets the
drugs. And everything 's fine.

Total time: 1' 3"

 

307

18 GF. 4" This is a picture of a mother - holding her daughter. Her daughter - fell
down the stairs from the very top, and she - seems to have a broken neck
and her mother's weeping and - crying and she can't revive her daughter. So, eventually,
the girl slips out of her hands and the mother faints and the - father comes home and finds
them like that. And he calls the police. And -- They revive the mother and she just can't

get out of the depression over the loss of her 5 - daughter.

Total time: 50"

19. 3" This looks like an ice house. In --Alaska. And. A little family of four

live here. And - actually, it's a trailer. With ice built all around it
(phrase too soft to be heard). (E: "Hm?") With ice, you know, covering it. And -- this
particular day - it w - they had really freezing temperatures 'n - from the snow and the -
ice and a - ice fall the night before - from the sleet and hail and stuff, it - it formed

weird - figures all over the - snow - you know, around the house.

Total time: 1' 1"

20. 4" Oh, this is an old man - he's sittin' in the park. And. -- He's thinking.
About being put in a nursing home. And. Which his whole family wants
to commit him to a nursing home. And - his wife just died - the year before and - since
then he hasn't been able to take care of himself and he can't cook - he can cook a little
bit, but he - he doesn't eat - well, he's undernourished he's - a - thin and they decide to
put him in a home where they can take better care of him. And he's so depressed and he
thinks nobody loves him and the world's against him. And he's - tryin' t' debate on whether
t' - take off to another state - or country, or to just let his family commit him. But - event-
ually he leaves -- for a couple years, without telling his - family where he's going. And
he goes to Europe and he travels and sees the sights that - he wants to see for the two years,
and he goes all over the place and meets all kinds of people. But - and he's really active
and he's - he - eats well and everything. But then - he decides it's time to come home,
and - he - he - comes home and - the minute his family sees him, they commit him. And.
They put him in a home and he's so unhappy and - his family never comes to see him, they

just wanted to make sure they knew where he was, so they put him there. And eventually,

he dies within a year of being put in the home, from being confined.

Total time: 1' 53"

8H

><A

<><V<

<>v<>

RORSCHACH, SUBJECT D, INTERMENSTRUUM

Card I
Um, you want to know everything that
"Mm hm. ")
It looks like a - butterfly. It looks

it looks like to me? (E:

like a pelvic bone. (Sigh) Am I
"Mm

allowed to turn it around? (E:

hm. ")

Definitely some kind of insect.

Total time: 55"

Card ll

36" Jesus Christ! (whispered very softly
to self) (shakes head)

55" I don't know, I don't know, it
308

(EQ) Yeah, I saw a butterfly. (EQ) The
wings (D2), the antenna (D1), and the end
down here (Dd3I). (EQ) Cause it just has
the whole outline of a butterfly. Flying,
or sitting. (EQ) Oh, the patterns (Dd526).
It doesn't have any color in it. That's
about all. (EQ - what else you saw) I
saw the pelvic bones, just shaped, just
completely like one, comes around. (E:
"Is that the whole thing again?") Uh huh.
(EQ) No. (E:

it was some - definitely some kind of on

"And, you also mentioned

insect, is that the same as the butterfly?")
Uh, yeah. I think it was - I think I
turned it this way (V). It looks, it just
looked like, you know, it's got - the -
claws, or the antenna, or whatever, and
just - the - the patterns of it, it's -

seems to be some sort of like a math or

any kind of an insect like that. A fly.

(EQ) I don't - yeah, I do! I just got
absolutely zero, 1 pro --- (E: "Do you
see anything there now, that you didn't
see before?") I was looking at 'em all -
as I got into it, it was easier. But, like -
l was looking at this as a complete whole,

you know, trying to get something out of

v><v

A 2I4”

>
v

>VA

A

309

doesn't look like anything to me. Do
you want it look like somethin? (E:
"Well, hang onto it a little longer, and

see whether you can see anything. ")

I'll tell ya' (laugh).

(As 5 returns card:) It just doesn't Icok

like anything to me. An ink blot (laugh).

Total time: 2' 45"

Card 111
Oh, good grief (whispered, to self)
This one could be two people. Around
a pot, or something. (pause, 16")
Yeah, it definitely looks like that,
two women.

The other way it looks like two men,

back to back .

(clears throat)

Do you want this as just all as a whole
thing, or as - as parts of it? (E: "It

doesn't matter. ")

it as a complete whole I - on a lot of
things, éspe'cially one, You know, the last
one, there were just little bits. And each
one looked like something, but it just - it
looked like absolutely nothing as a whole.
(Pause, S looks again.) I just could get
nothing on this one. (E: "It still doesn't

do anything for you?") Not really!

(EQ) Yeah. This one is the two women.
The two women over a pot, of something.
(EQ) Sure, there they are (D1). They
face each other. And this way (V), they
look like two - two men with beards.
Back to back (D1). And these were the
seahorses, here (D2). And the same kind
of thing as I saw on the first one the
pelvic - bone, the butterfly, the same
shape (D3). (EQ - women, determinants)
Breasts (Dd27). (EQ) Right there. High
heels (D10). (EQ) Sort of like a skirt
down here (Dd26), that's about all.

(EQ - men) Their beards (lateral outline
of D4). And the - it looks like a -

colored man, an Afro. An Afro, uh,

type of hairdo. That's all. (EQ -

> /\<V> < ><>

d
d

310

Like - like the red - or the black - by
itself. (E: "Whatever way it looks to
you. There's no right answers. ") I
would imagine there's not.

The little ones - the little red ones
look like, kind of like seahorses. And
the red one in the middle looks a lot

like - the - the first blot - as a

whole - the butterfly, an' . . .

Total time: 2' 29"

Card IV

This looks like a burnt piece of paper.
Or like an ash, from like - from an

incinerator, or something.

Likethe face of a dog, too.

Looks like a backbone - up a back.
These look like feet. Like somebody's -

lying back on a stool.

'll 54"

Total time:

seahorses) Seahorses here. Just, they look
like seahorses (laugh). That tail's really
under - the bent. The head here, and
then down. (EQ) Not the color (laugh).
Just the shape. (EQ - D3) The same as -
the same shape as the first thing, the
pelvic bone and the butterfly. It's the
same shape, just like wings, or whatever.
(EQ - pelvic bone, further determinants)
Nope. (EQ - butterfly, further

determinants) No.

(EQ) Mmmm, yeah. This is the one that
looks like, uh -- these are his feet (D6),
this guy's sitting on a stool. And leaning
backwards, that was the last thing I said,
and that doesn't really look like that.
(EQ) Yeah, the whole thing. This is -
see here, he's leaning backwards, he's
got his arms here (D4), and his head's

up here (D3), leaning back. I said it
looked like a backbone in through here
(D5). Spinal column type of thing.

(EQ) The, uh, niches in it. And the
ends down here. (EQ) No. (E: "You
mentioned a couple of other things, too,
that it looked like. ") I know. I have
no idea where they are. Wait a minute,
wait a minute (very softly). I don't
remember what else I said. (E: "The

first thing you said,‘ was it looked like

311

a burnt piece of paper, or an ash. ") That's
right, because of the difference in the
colors here. It looks really light, like it's
just sort of — floating down. It looks like -
when - you burn the trash, or something,
y'know, and the ashes float down? (EQ)
The shape, an', an' the raggedness of it.
It's ragged. It's black, of course. That's
all. (EQ - major determinant) They're
both important. Shape, probably, lguess
shape. First thing you'd have to look,
yeah. If it was a different color, I don't
think it would too - look too much like an
ash, though (laugh). So - I guess they're
equally important (laugh). (E: "And then
you mentioned the face of a dog. ") That's
right. I remember now, I think it looks
like a dog in through here, like aScottie.
In through here, eyes, in through here
and ears. (EQ - location) Yeah, more
or less, just sort of like this. (EQ) Uh,

to an extent, yeah. (Ears are D4, eyes
are Dd closer to midline than Dd22, and
shaded a light grey, percept excludes D6
and D1). (EQ) Well, cause it's got ears.
And it's sorta floppy and it's sorta y' - I
still think it's got two eyes, too. And it
d - sorta the peak of the head is like -
(EQ) The color. That's why - I said

that it looks like a Scottie, not a poodle,

or something, whatever. It's black.

That's about all.

312

Card V
A 18"This looks like a butterfly too. Or an

insect. Or a showgirl - dancer.

V
>

< Looks like a hawk - one of those

prehistoric birds.

V

Total time: 1' 23"

This I said looked like a butterfly too.
(EQ) Uh, this is the same, and the
antenna, and the - the end of it down here,
and the wings. (EQ) Just wings. I said it
looked like a dance girl, too, which it
really does, like Carol Channing, like,
with her feathers, when she does her
feather routine. It really looks like that.
(EQ) Oh, definitely, definitely (the
whole thing), much more than even the
butterfly. (EQ) Not the color, it's got

a - y'know, just the shadows sorta like.
(EQ) Well it doesn't - hinder it, it doesn't
help it that much. It'd probably be better
if it was colored, but it doesn't - hinder
it. It still looks a lot like that. (E:

"And you mentioned one more thing too. ")
(pause) Oh, I said it looked like a hawk.
It does, that way (<). It looks like that,
there's the beak there (D9), and it's just
flying. (E: "OK, and that's the whole
thing again?") Oh, yeah. (EQ) The
beak. And the wings. (EQ) The color.
That's all.

>A><>

V<

313

Card VI

18" This one looks like a rug. This part
up here looks like a teepee - or like a -

totem pole type thing Indian thing.

Looks like a - like a raccoon (laugh).

Total time: 1' 50"

E: "What was funny?"

5: "Oh, they just all - it's just some
of the things they look like for a
minute that they don't look like
when you look again (laugh). Plus
they all look a bit alike, too.

Mmm, I said this one looked like a rug. It
looks like a bear - rug type of thing. Lying
flat. That's the way it looks to me. (EQ)
Not this too much, just this part of it
mostly (DI), and then this looked like the-
lndian thing. (EQ) Mm, the arms and the
legs. And this looks like fur, sort of in
here, or hide, whatever they call it. (EQ)
The color. The color and the tex - it
looks like it's textured. Looks sor - looks
sorta like teeth in through here, even
though it wouldn't look like that. (EQ -
texture) The difference in the hues, the
difference in the colors. In through here.
It's, uh - spotted. And grained - sort of.
(EQ) Yeah, I said that this looked like
Indians. This looks like feathers (D6),

and it looks like the top of a totem pole
(D3), or whatever. (EQ) The color. A
lot. Because this is different in through
here (D6), in the feathers. Plus the
shape, of course. (EQ) l -- the color,
well -- the shape probably, probably the
shape. But the color really helps. (EQ -
remember what else?) Hm mm. (E:
"Raccoon.") Oh, yeah, that - yeahl
That's when you turn it this way (<), it
looks like it's got an eye here (D7), and

it - it's - it's this way. This is its snout
up to here (D3 - D6). (EQ) Well he -

so he's he's flat, definitely flat. (EQ)

r

20H

<AV><><>

314

Card Vll

This one looks like people laughing.

Looks like a -- like a - big chair. Like
a throne type of thing.
Might also - it - looks like a wig. On

a stand of some kind that's missing.

Sitting there.

This, alright, where the - there's the
snout - here's the - it's just like - sorta
like the bear rug. Except from the other
angle. And here's his snout here, and an
eye here, or whatever, and then then he's
just flat. (E: "Oh, so it'd be like you'd
be looking down, on him, as though he
were spread out. ") Yeah, looking down,
right. (EQ) Without this, yeah (percept
is W-D6). (EQ) I don't know, it struck
me funny. As I started to sees it - see
things in it so far fetched in the thing.

It, uh -- I don't know. Well, it's, you
know, just - just like the bear rug, it's -
it looks like the animal. For the raccoon
it's got the black streak down it. Color,
I guess. (EQ) Shape, it makes it an

animal, definitely.

This one is the one that looked like
people laughing. (EQ) Reminded me
about lau - all the - all the open crevices
reminded me of people laughing. Every
way it could be, like peOple with their
head back, just laughing. (EQ) All the
little ones (Dds at places where crevices
are formed, as where D1 and D3 are
joined, both toward center and outside
of blot, etc.) That looks like a - a lot
like a wig, too. The whole thing, the

way it looks. Like a shag wig. l

A
>
A
4

v

<

>

A

315

Total time: 2' 50"

Card Vlll

2'40" Well, this could be - a drill - of
some kind, and a mountain. Drilling
for oil or something.

This looks like - these look like little
animals, too.
This looks like those - those, um,

little models that we used to put

together. Of, um -- the human

remember that. (EQ) It looks like it'd fit
right over a head. Right in through here
(Ds7). And it's shaped like a hairdo.

(EQ) Color. That's all. (EQ - determin-
ants, first percept) Why did they? (EQ)
(pause) I don't know. They reminded me
of people laughing. (EQ - what else you
saw.) (pause) I don't remember. (E: "The
throne. The big chair. ") Ohl Big chair,
definitely. The arms here (D2), and the
back, high back here (D4), sit right down
there (Ds7). (EQ) Yeah, this is the seat
in through here. And the feet (D5). That's
the whole thing. It's just shaped like it.
(EQ) No.

Oh, this one. (E: "Didn't you like that
one?") Not especially. Makes it look
like they were drilling. (EQ) Just up
here (D4, mountain). And then, y'know,
down, these are the different layers, 1
would imagine. (EQ) They're just drilling
down through, yeah (Dd21, drill). (EQ)
Cause the only thing that it really looked
like. Just had the thing down the
middle. It's colorful, but it didn't look
like anything that would have so many
colors. These are little a - these look
like - both of 'em, y'know, 'cause

they're just exactly the same, look like

little animals (D1). 1 said that. (EQ -

316

being? I don't know what they used to
call 'em. But they were all different
colors of all the other organs, and every-
thing. And this one looks like that too.
Like an X—ray of some kind - except

colored.

Total time: 4' 15"

what kind of animal) A small one, like an
otter, or something. Cause it's got - small
feet, and a small - small nose, and little
mouth. (EQ) Well, it's crawling. Looks
like it's crawling all over these - over -
rocks, or whatever it is. (EQ - mountain,
how far away are you?) Well you're
looking at it - from a cut off -- from a cut
off, uh, angle. How far away, would
they be from ---? (EQ) Well, the
mountain is small, but the drill, you know,
if you were that far away that the moun-
tain would look so small, you wouldn't

see the drill. It looks like a graph, you
know, like a picture of it. Like this is
like someone is drawing it, this is what it
would look like. To show people. (EQ -
what else you saw) Mmmm. (E: "Little
models we used to put together of the
human body, X-rays.") Oh, yeah, that's
right. Because it - just cause that's

where I get all the colors cause we used

to have those little - those little men,

you know, that you put together. And
like the liver was orange, and the heart
was red, and the - all sorts of different
things. (EQ) Yeah, the whole thing.
(EQ) The shape, looks like it, you know,
the shape of the - um, here - or whatever,
inside the body. (EQ) The color, more -

more than the shape. For sure.

/\ s?"

(VA

317

Card lX

This looks like an explosion. Or a
vision of some kind. It looks like if
you had a vision it would look like that

(laugh). Like magic, or something.

There's a form back here, a human form.

Looks like a - misty, mystic.
This looks like a clown. A clown, with

a big hat on. A big smile on his face.

Looks like something out of Dr. Seuss.

It looks like flowers, too. Flowers in a

V058.

Total time: 2' 10"

Oh, this is the one that looked like the
magic. This is the vision, in through here
(D58). (E: "Would that be kind of - the
whole card you're thinking of as - being
magic?") Oh, yeah, definitely, it looks
like a vision. (EQ) Colors - see this -
this dude in here (laugh) looks like he's
sort of coming up out of a mist. (EQ)
Yeah, see, here's his arms comin' down
through here. And - his head in through
here, and he's just sort of standing there
(D5 is man). (EQ) Yeah, from the waist
up. And then he's covered with these -
these colors, he's coming out, sort of
misty. Looks like he had (unintelliglible).
Looks like an eXplosion too, that's what

I thought it looked like at first, 'cause it
was just so colorful. (EQ) Just the way
it goes up. It goes up - this way . . .
This one looks like the - thing out of Dr.
Seuss, too. Thing with the hat, the
smile (Dd25) and the eyes (Dd523). The
whole thing. And the colors, had a lot
to do with it. (EQ) Sort of a clown
type, well, you know, the Dr. Seuss was
sort of - a people - animal type thing.

It was both, sort of mixed in. No
special - no kind of animal you ever
saw, but no kind of people you ever saw
either. (EQ - determinants, mainly

color?) Mm hm. The - the color

<v><

318

Card X
(Sigh)
These look like little - microscopic
things, like - lobsters, er . . . or

something out of a microscope.

This looks like a face, in through

divides it, you know, the color divides the-
the person and - and this, and then the
plume, looks like a plumed hat. (EQ) This
is his hat (D6), this is his - his hair or
whatever (D1). (E: "Oh, it's - so it's like
his face, instead of the whole thing. ")

Mm hm, mm hm. (E: "Now, is that the
same thing as the clown?") Yeah. More
or less, yeah. And that looks like a vase
too, that's what I said this looks like a
vase (D58). The stands right - part there,
with the flowers comin' out of it (D9). On
it, with the background (D12), of sorts,
like a painting would be. (EQ - whole
blot?) Mm hm. (EQ) What made it seem
like that? (EQ) This looks like a vase in
here. And this - this looks like. It's the
color of roses, color I guess. (EQ) Color
and shape. The color defines the shape,
'cause the color goes around in through

here. Color and shape.

Oh, this one. This one looked like --
this is one that eh - eh looked like the
microscopic - because everything is -
really little and everything '5 -- apart.
It looks like absolutely nothing all
together. (EQ) No, they're all just
little - little - beasties. Little
(unintelligible) I thought these looked

like lobsters (D1) because they've got

<
V
>

319

here. A smiling face.

Total time: 4' 11"

Total time for 10 cards: 25' 55"

the claw type thing on 'em. (EQ) Well,
the shape of 'em, they're just sort of . . .
Then I thought that this looked like a face.
The eyes (D2) and nose (D6) and the mouth
(D3) just right in here. (EQ - location)
(S points) But that's all. That's all it
looks like. And it doesn't even look like
that that much. It's just colorful. (EQ -
further determinants, first percept) Made
it look like what? That made it look all
apart? (E clarifies) They're all apart, all
the colors - the colors are all apart. (EQ)
The colors mostly, they don't even have
the shapes of the - of the little - uh,
microsCOpic things, they're just all little
tiny little colors. (EQ - face, further

determinants) Nnnn. Not really.

TAT, SUBJECT D, INTERMENSTRUUM

Following the instructions, S says: "Gonna do that whole stack of 'em, huh?"

Card I. 17" Ah -- it's a little boy and a violin. And, uh, his mother's told him he's
gotta practice, and he doesn't wanta practice, because he doesn't care

very much - whether he can play it or not. And I imagine he wants to go play baseball.

(Pause, 13") He knows he should practice, I imagine. (Pause) But he feels - he feels

like he's being really put out. (Pause) But he knows he's gotta do it sooner or later so

I imagine he'll play it. He'll play it for a little while. But not too good (laugh). And

then he'll go out and play baseball.

Total time: t' it"

S: "Am I talking too fast?"
E: "No, that's fine, because that's why I have the tape recorder, so that you don't have

to 5 low down . "

5: "OK. "

Card 2. 10" This looks like something out of the old pioneer days, when you've gotta

till the land, and uh - it's definitely old fashioned, they've got old fashioned
clothes. And, um, the man is working the fields. --While his wife is watching, and I guess
she's pregnant. (Pause, 10") And, this is - this is the progressive lady that lives next
door, that thinks that - that the woman's place isn't in the home anymore (laugh). And
that - she's goin' off, to teach some school. (Pause) But the other two are very content,

and very happy - with their lives. (Pause, 12")
Total time: I' 15"

3 BM. 24" She's very depressed. (Pause) One of those days when everything goes
wrong. Everything looks like it's headed for the worst. (Pause) Every-

body's involved, no real one person's involved. Just sort of the - the - the burden of

everything that's been goin' on, for so long. (Pause, 20") She'll get over it. She'll

get over it. (Laugh).
Total time: I' I5"

320

321

3 GF. 11" She just lost her temper. She's talking to - a girlfriend. And she, uh -
lost her temper and said a lotta things she didn't mean. And the girlfriend

walked out on her, angry too. And she's still angry, she's upset. She's - she's mad at

herself - as well. And as it goes - as - as it goes on, she'll be more angry at herself for

losing her temper. And she'll probably call her girlfriend back and apologize. (Pause)

Total time: I'

4. (Laugh)
18" Well, they're obviously lovers, she thinks he's very strong. Very masculine.
And he thinks so too. He knows it. Cause of course he is - very strong,
very masculine. (Pause, 37") He's in the middle with an argument - an argument with a -
with a neighbor, about something. And, um, of course he's winning. (Pause, 16")
There's a picture of a girl, behind, a girl - on a wall, like a pinup, so they're obviously
at his house. This, of course, makes him even more masculine. He's very - he's a

bachelor. They're just lovers, they're not married. (Pause, 15")
Total time: 2' 5"

(S says something unintelligible, and laughs)
E: "Hm?"
S: "I don't believe I'm saying these things." (Laugh)

5. 20" Well, she's just heard a noise - in the kitchen, and she's been saying it's -
it's late at night, not real late, it's about eleven o'clock at night. And
she hears a noise in the kitchen and w - 'n the kids are already in bed, so of course she
goes out to check. And she's comin' through the dining room, an', uh, catches one of
the kids red-handed with -- cookies out of the kitchen. And she's not - angry. This is
just her moment of discovery when she see him , and she's not angry, but she - she's not,
uh -- thrilled that they've gone against what is the rules either. N' shelll probably - scold
'im. N' send 'im to bed. And tell 'im not to do it again.

Total time: 1' 15"

322

6 GF. 7" (Laugh) Oh, no (whispered)
26" Well, she's a very sophisticated woman, and he's a very sophisticated man.
And the - ah- - but he's - he's got a sense of humor. And he's been
teasing her. And she's very - she's very, um - uppity, and she thinks that - she thinks
that he's very, ah - forward. And she's looking at him with a very shocked expression,
because - but - but he knows she's actually enjoying it, which she prob - she's enjoying

it. (Pause, 14").

Total time: 1' 18"

7 GF. 18" This is a little girl's uh, aunt. And she's reading to her, of something that
is of absolutely no interest to 'er. But she's thinking - she thinkin' about

growing up. She's thinkin' about when she can - of what she'll do when she gets older,

and where she'll go, and what she'll wear. She's daydreaming. (Pause, 21") That's

all (whispered).

Total time: 1' 2"

8 GF. 35" This lady's sitting in - sitting in a - in a studio. And she's watching her-
seven year old daughter - ballet. And she's very thoughtful, and she
thinks she's very beautiful. And she's very proud -- and very happy. And yet she's real

nostalgic and she doesn't want 'er to grow up. . .

Total time: 1' 10"

9 GF. 1' 9" I don't know what she's holding. I don't know what she's holding in her
hand. (Pause, 29") Well this is the - the maid of this - of a rich house-
hold. And she's - she's just informed - the lady of the house (Pause) out on the, uh -
beach outside - right outside the home, they - they were - they were having a party and
she stepped out for a minute, and the maid caught. 'er outside, and, uh, informed her
that her husband was being unfaithful to 'er. Because she's - very jealous - of the rich
lady. And she's told 'er that 'er husband's being unfaithful and - and the uh, the rich
woman is - is angry - with both of them. She refuses to believe it, but she's gonna go
back 'n - face 'im with it anyway. (E: "Is it true?") No.
Total time: 2' 45"

323

10. 13" These two are married and - and their uh - their son has just died. It was
a real long sickness, n' -- n' they knew he was gonna die. So it's more

of a quiet sorrow than it is a -- a - a terrible grief. And they're just comforting each other.

(Pause, 21")
Total time: 56"

At this point, further instructions are given for cards 11-20.

11. Hm.
11" This is really bad, 'cause I'm right in the mddle of the trilogy. Have you
ever read that, The Lord of the Rings? (E: "I Haven't , but I know of it.")
I'm right in the middle of it (laugh). And everything - everything is gonna look like it
to me. (Pause, 21")
43" Well, this is obviously the den of the dragon. There's a dragon up here,
and there's fire all around. And there's -- steep cliffs and narrow passage-
ways. But obviously they - they hav - whoever this - this man is fleeing across this bridge
has got through the worst of it. And there's - there's great hope on the other side. Which
is the only reason why he'd go through it in the first place. (Pause) And he's got through

the worst of it now.

Total time: 1' 18"

12 F. 25" This is this woman's conscience back here. Not her conscience, but
actually her real self. She's, uh -- she looks very - normal, she looks

very, um - everyday, but - she's got - in her mind she's - she's witchlike, and - and

crafty. And - and wise like an old woman, but - (Pause) but i -5l'i.e'.Snot what she seems,

is the gist of it. She's - she's very different than what she puts on. (Pause)

Total time: t' 9"

324

13 MF. 27" Well, this is gotta be Joe serviceman. Joe Army, who's been seduced by a
whore. And has just realized the - the terribleness of his ways. And is,

uh -- reaching for the Bible on the - the Gideon Bible which is sitting on the - hotel -

er the - the hotel, uh -- desk. It's not a whorehouse, it's gotta be a hotel. An' , uh,

he's going t' find God, and - and mend his ways, and - protest the war, and - know the

right and the truth and the good (laugh). That's fantasy (laugh).

Total time: 1' 5"

l4. (Sigh)
44" This is anyone. Anyone that -- once or twice - anyone gets up in the
middle of the night an' - an' looks out the window. Or feels he's looking
out the window. It's just a - a personification of a feeling. Of going away and getting
away from everything that's goin' on. (Pause) Even though he likes the situation that he's
in and everthing's goin' all right. Nothin's bad. Just of something different. The grass

is always greener. . .

Total time: 1' 33"

15. (Laugh)
28" This is the kind of picture that - "The Joint Issues" has in - has in their
paper with, uh, "The Army Wants You " underneath it (laugh). (Pause)
Your local recruiting office type poster. (Pause, 12") It's a (pause, 15") it's a man
who's not pleased with the fact that everybody has to die and is gonna die. (Pause) But
he's died himself. He's a ghost (Pause) And he's unhappy. (Pause, 12") Could be the

devil .(Pause)
Total time: I' 53"

(Further instructions given for card #16)

325

16. (Laugh)
15" OK
31" There's a - there's a forest. But not too many trees, just - just trees, like

a wood, more or less, just - high up on a hill. -- And way down, way down
in the valley, there's a very small city, like a couple little - little homes. Not modern
homes, old type of homes like, um -- mud huts or - or old, uh, old shacks. A circle - a
circle of homes. Surrounded by not much. Just all barren plain. And up in the wood --
just by one tree is a - is a man. And he's -- he's peering around from just one of the
trees. He's standing behind one of 'em and looking down over the hill. Peeking around
the tree and looking down over the hill. And he's , uh, -- he's not too tall, and he's -
he's a large - very large man, with large hands. But you don't see his face. We're lookin'
at 'im from the back. (Pause, 12") (E: "Now tell me a story about it. ") Tell you a story
about it? (Pause, 19") Well, he's, a -- hm. . .(Pause, 32") Well, he's been travelin'
for a long time. And he hasn't seen people for a long time. Been by himself, in the
woods. --And he doesn't know people that well, as a matter of fact, he's rather wild
himself. --And, um - peaceful -- but - he doesn't know people. And he will - he'll go
down to the town. And um -- try to make some friends - er try to talk to people, not
make friends, just try to talk to people. And find it a little difficult, and they - and

they won't like him.

Total time: 3' 39"

17 GF. 1' 10' Well, this is a fella that just - that just finished workin' down here. He
didn't finish working, he's walked off the job, he's sick 0' working. . .He's
sick of - the heavy work, he's sick of the - the treatment from the bosses, he's sick of the
whole place, and it's a beautiful day (pause). And he knows he's really gonna get in
trouble and he knows that it may ruin - may ruin anything he ever had goin' for 'im but,

on the other hand--he--he feels it's worth it. And he's gonna take off.

Total time: 1' 54"

326

18 GF. 1' 6'" Well, this girl's - this is old fashioned too. This is - way back when, and
she's come in from - from going out - er from - the county picnic with
her boyfriend. And he's asked her to marry 'er. And this is her mother that she's talking
to - it's late at night. She's telling 'er mother that she wants t'get married (Pause), and
the mother is --she's not happy, she's grave, she's - she's not upset--because the girl's
very young, and she - she wants her to be sure she knows what she's doing. (Pause) And
yet she - she wants to have confidence in 'er, and she's--she feels very close to 'er.
(Pause, 10") And she tells her to do what she thinks is best, n' - n' they'll - hug each
other, and she'll go to bed.

Total time: 2' 20"

19. 1' 50" Well, this is out in the sea. And these are -- these are monsters here -
er, sea monsters. These are their eyes. (Pause, 17") And their eyes -
can lure sailors, to, uh - 'cause they see in their eyes anything that - they really wanta

see (Pause). And it drives soldiers - it drives sailors crazy. (Pause)

Total time: 2' 45"

20. 31" This is an old, old man who's gone for a walk -- sort of in the - sort of in
the evening, not late. Just - just t' - just t' go out, and see the - start

to' see the lights start comin' on -- out in the city. Just to reminisce. Just to get his

thoughts together. (Pause) And think what old men think about. (Pause, 12") I

imagine his wife is dead, and he's all alone. (P0053: 15")

Total time: 1' 31"

A<> < > A>A<>

RORSCHACH, SUBJECT D, PREMENSTRUUM

Card I

A 6" Well, it looks like a butterfly. I had

these before, right? The same ones?

Uh.
<
V
A
V
<
A
>
A (Sigh)
V
Total time: 1' 24"
Card ll

1'18'This one right here looks like a

bear.

This little part here reminds me of

a - head of a unicorn.

Total time: 2' 5"

327

(EQ) A butterfly. (EQ) Well, this is the
wings, in through here (D2), the antenna
here (DI), these, here. Just the shape,
no color or anything. (EQ) No color.
(EQ) Patterns. The holes in through

here. (EQ) No. (E: "Do you see
anything else there now, by the way, that
you didn't see before?") (pause,10")
(Shakes head and returns card.) (E: "If
you see anything as we go through the
cards that you didn't mention before, just

mention it. ")

(EQ) (S coughs) I thought that these
looked like the - head of a unicorn
(Dd25). (EQ) Just right here, just the--
horn. (E: "Anything else besides the
horn remind you of that?") Well, color
a little bit, because they're sort of a
legendary type of character, anyway,
and they're always different colors in
pictures, or something. I thought that
this looked like a bear (D1). Just -
vague shape - and color. (EQ) Well,
the feet are here (Dd28 and inner half
of D7) and the face is here (lateral half
of D7). (EQ) Ears (Dd21) nose. The

color a bit. It would have been -

328

Card III

A 19" This looks like two women again. I

</\>

remember that. And these look like
seahorses.

These look like fish.

These look like trees.

Looks like men upside down.

Total time: 1' 39"

would've been - the color would've made
a difference, I think. (pause) I didn't
see it before, but these look like gun

holsters, in a way (D2). Just - the shape
of 'em (V).

This one I remember the two women. The
whole outline (D1). (EQ) Well not - no
color. (E: "Are they any particular type
of women?") No, just women. Women
because of the high-heeled shoes, the
breasts, uh. And then it looks like men
upside down, like black men. They've
got an Afro and a black beard. (EQ)
(Sigh) I don't know - which one - I don't
know, they're both important, I don't
see either one of them as more important.
Which one makes 'em more black? Well,
the beard makes 'em more men. The Afro
makes 'em more black. (E: "If that were
a different color, but the same - outline,
do you think you would have seen it as
that?") Yeah. (EQ) Nn nn. (EQ)

Just this part (D4). These are like fish
(D5). Just the outline. The same with
the seahorses (D2). (E: "You mentioned
- one other thing. Do you remember
that?") No. (E: "Trees. ") Oh. I
thought that they had - that these looked

like trees, too (D4), as well as the head

of a black man, they look like trees.

329

Card IV

A 25" Looks like a - backbone, like a spinal

7"

> v>A<A > V4)

column.

Whole thing looks like the - figure of

a man. Sorta leaning backwards.

1| 54"

Total time:

Card V
This looks like a butterfly, too.

Looks like an eagle.

Looks like a chorus girl - like a

follies girl . . .

This over here looks like an alligator.

'II 30"

Total time:

(EQ) Just the - the base, and the - an'

the bushiness of 'em.

Oh, this one looked like a - of a - a -
shape of a m - of a man - or shape of a
body - leaning backwards on a chair.

This is the arms (D4), hanging over the
chair, and the feet - comin' out (D6)
there. (EQ) Color certainly not. (Sigh)
Oh, and this was like a backbone (D1 and
entire midline). (EQ) This thing - the
things coming out looked like - the

vertebrae looks. (EQ) Nn nn.

1 said this one looked like a chorus girl -
follies girl. (EQ) Yeah, sure, she's got
- her head up here (D6), feet down here
(D9), and then the feathers, coming out
(D4) there. (EQ) Nn nn. These look
like the heads of alligators (D10). This
looks like the nose (D1), and this looks
like the mouth (Dd529). Looks like an
eagle flying that way. The beak is here
(D9) - and the wings (D4) - and the tail
(D6). (EQ) Nn nn.

330

Card VI
A 14" Looks like the top of a totem pole.
> This looks like a rug, 0 bearskin rug.

<

A
>
v

(Looks at card sideways, though holds
it V.)

<

Total time: I' 18"

Card VII

14” This looks like a chair. These look
like elephants.

A
<
v
<
>
A
>
v

Total time: 2' 5"

That's a totem pole, here (D8). Color, a
lot. There's different shades in there.
And the shape of it coming out this way.
(EQ) (Shakes head no.) And this looks
like a bearskin rug, lying flat. The arms
and the legs (Dd25, D9). (E: "Is this part
of it too?") No. (E: "Where does it
end?") Here (W-D3). (EQ) Um, it - it
looks like it's lying really flat, and it's
got texture to it . . . And it's got those
arms and legs comin' out here. (EQ) The
texture, I think, is more important. I
think 50. (E: "What makes you feel that
it's textured?") Cause of the different

shades .

This is the one that looks like a big chair.
'N it's got a big back here (D4), 'n -
arms that come out (D3), 'n the feet (D1)
(mumbled phrase.) (E: "What was the
last thing you said?") I said, you sit in
through here (D57 between D3 and D3).
(EQ) Nn nn. (Coughs) Could be any
color, and it'd look like that. (Coughs)
These look - they look like elephants.
(EQ) Well, a couple - ways this looks
like elephants - noses. Right here -

this looks like the trunk (Dd21) here,

331

Card Vlll
/\ 19" This looks like an animal (rubs card
with finger.) Like a muskrat er
something. This looks like an oil
drill. In a mountain or somethin'.

This right here.
(Sigh)

This looks like ducks.

>< VA<

Total time: 2' 44"

and the eyes here (elephant is D3V), and
then back again this way (A) it looks like
an elephant, with its mouth open. The
whole thing (D2 with D5 as trunk, open
mouth is space between D1 and D3 on
lateral side) this way. (EQ) Mm hm. (E:
"Anything besides the trunks make you
think of elephants?") No. (Coughs) (E:
"Those are just - heads of elephants, right,
not the whole elephant?") (Cough) Mm
hm.

(Yawn) These look like - animals (D1).
The whole outline. The head, the feet,
'n the tail. (EQ) No. (E: "Are they
any particular kind of animal?") Just -
a sort of a muskrat, 'er a - beaver, or
somethin' like that. l quess they look
kinda funny too. Cause the red's got the
texture to it too. Probably helped. I
remember this looked like a mountain,
'cause it goes up at the top (D4). And
then this looks like an oil drill goin'
through the -- goin' through all these
different layers. (EQ) Well, like you'll
see a mountain, and - this could be -
this is like all the different layers under
the earth. (E: "So that's like - the

whole thing except for the animals ?")

Mm hm. (Cough) (EQ - further

332

Card IX

A 42" This looks like a vision in here, like --

>v</\ <

like an apparition.

This looks like a Dr. Seuss character.

(Sigh, cough)

(Pulls her hair over mouth to cover it

and holds it there a few seconds.)

Total time: 2' 47"

determinants) The different colors. I
remember this looked like the h - just the
heads of ducks, cause of the beaks. (EQ)
Mm hm. (Ducks are white space between
D2 and DIV, so that beaks point awayfrom
center of card. Beak is between the two
lower legs of the animal seen in D1.)
(yawns) Oh, excuse me. (E: "That's all

right. It's early in the morning. ")

(Cough) I remember this looked like a
vision. Just because it was - so vaguely
outlined, and because it sorta has ahuman
shaped form - the head and the arms
coming out here, and the body. And sorta
coming out from all these colors. (E:

"So - the whole thing is a vision, in a
way?") Mm hm. (E: "But the human
form is what's in that — middle part?")
Mm hm (upper half of D5). It's got a — a
halo around it (bluish color in D58), and-
and sorta crown (D7) up here. (EQ)
Well, they are in a - around it, they
have a lot to do with it, but the shape

of - the shape of the man is pretty
definite. And this looks like the Dr.
Suess character, with the - the eyes, the
mouth down here, and then they always
wear - funny hats and they're sort of an

animal type of face. (EQ) This is - this
is the hat (D1) here, with the plume (D6).

333

Card X

A 15" These look like lobsters. They

>V<

look like little, um, microscopic
organisms, under a microscope.

This looks like a face.

Total time: 2 '45"

(EQ) Mm hm. These are the eyes (Dd523),
this is the nose and the mouth (EQ). Eyes,
the nose (upper portion of D5), and mouth
(Dd25). And then right here are like -
ears - or whatever on the - on the - on the
strange animals he - comes up with. (EQ)
Color was too. (EQ) Well -- I don't
think I would have seen it if it hadn't
been for the shape of it, but I don't think
I'd have seen it - if it hadn't been for the
color, either. Maybe the shape was more
important. (E: "OK. I know what you
mean, it's hard to make a decision on

some of those. ")

This was the one that looked like a bunch
of different - little different animals.
These look like lobsters (D1) and I'd say
these sorta look like - like, uh --
seahorses again (D4). This looked like a
bunch of little organisms because it's so -
colorful and so - um - apart - they're all
little things. (EQ) The scattered way
that it is. (EQ - determinants, lobsters)
The claws. (EQ) No. (EQ -
determinants, seahorses) The shape.
(EQ) No. (E: "Were there any other -
creatures in there that you definitely
picked out, like you did those two?")
No. And this looked like a face. Just -

just the eyes (D2), and the mouth (D3),

334

Total time for 10 cards: 21' 7"

and just the vague shape of it. (EQ) Just
a part of it, just this here. (Percept is V
and between D9 and D9, which are edges
of face.) (EQ) Mm hm. Mm hm. (E:
"Anything else about the face, is it any
particular type of face?") Hm mm. (E:
"Human face?") It's hard t'say (laugh). I
suppose. I - caricature type of thing.

Not - that realistic. I think that's all.

Fr

TAT, SUBJECT D , PREMENSTRUUM

Card 1. 12" Well, he wants to go out and play, and his mother's t - his mother's, uh,
made it absolutely clear that he's to practice his violin. And, he's not -
he doesn't like the idea because there's a big baseball game. --And he knows that he
hasn't got much choice about the matter, so that he's gonna sit there and mope about it
for a while, but (Pause). He might be thinking what - what's the use of my -playing the
violin - when, actually what he wants to be is a big baseball player when he grows up,
not a violin player (Pause). But he'll play the - he'll - he'll practice - 'til as long as his

mother - his mother - insists on it, and he'll probably go out and play ball.

Total time: I' 8"

Card 2. 24" Well, these are the parents and this their - this is their young girl. An',
uh, the father's -- plowing the land, and the mother's - sort of daydreaming

up there, sort of a -- romantic type of picture. And the girl's going off to school because

she thinks - she's - she thinks she's more, uh, contemp - she is more contemporary than

her parents. An', uh -- she doesn't want to spend her life on the farm like her mother

has. She loves 'em an' everything, but -- she feels sad that - that - uh, this is the life

they lead. She feels there's better things for them - and definitely better things for

herself. (Pause, 12") (E: "How does it turn out?") How does it turn out? Well, the

parents let her go, they approve -- and (Pause) oh, I imagine that - she ends up bein'

a schoolteacher (laugh).

Total time: 1' 56"

Card 3BM.58" Hm.

1'42" Well, I guess this is a gun down here, I imagine. It couldn't be anything

else. She uh -- she found this gun in her husband's room, and her husband

isn't a hunter (clears throat). And she got very upset about it. She asked him about it,
and they've been arguing. For a long time. And - he's a very violent man, and - she's
always known this, but- she's never really realized it as much as now, and she's afraid of
what - he's - he's planning on doing and - she doesn't - she doesn't really know that much
about his affairs. And, as she - imagines what he's up to, she's up - she's extremely upset.

She doesn't know what to do, or (Pause) or what he's gonna do. But she'll stay with him
335

336

anyway. She won't leave.

Total time: 2' 51"

Card 3 GF.46" Well, she's just walked into - her home. She's been out for the evening.

and she's just walked into her home, which - which has been ransacked
and ruined - by vandals. (Pause) And | imag she - I imagine she just stood by the door
and looked at it for a couple minutes, now - now she's the - the realization '5 just hitting
her, and she's - she doesn't know what to do, she doesn't know where to start. All
different thoughts are runnin' through her mind. She's wonderin' what was stolen, and
what was the reason for it. And - whether it was anything personal against her, or just -
just - vandalism (Pause, 11"). N' she'll call the police, and. ..(Pause, 13") (E: And?")
(Unintelligible phrase). I don' know what she'll do. She'll get over it, I guess. Uh,
yeah, she'll get over it. (Unintelligible phrase).

Total time: 2' IO"

4. 2" Oh, I remember this (laugh).

33" Well, she's m - she's married to somebody else. And it isn't a very happy

marriage. And she's been comin' over to see - to see this -- this man,

she - thinks he's just fantastic 'cause obviously, he's very manly and very, you know very
masculine, very unmarried. And, uh, and she wants him, but he - he - he wants her, but
not for anything permanent. And - they're having an affair (Pause, 12") . She - she just
told 'im, she might just have told 'im that her husband knows about - about - the two of
them. And she - he - accuses her - of telling 'im - on purpose, to force some action

out of him. And he ends up leaving 'er.

Total time: I' 38"

337

5. 10" Well, it's - it's one in the morning, and -- this is mother, and she's pretty
old fashioned, and her - her daughter -- has been out on a date, she's
brought the date home and they're sitting - sitting in the living room, and - they're sittin'
pretty close, an' they're holding hands and watching TV or something, but the mother
thinks it's bedtime but she - she is not so sure that she should - that she should interrupt
or say anything. But she's keeping surveillance anyway, an' she's peekin' in. An' I
imagine - maybe the daughter can see her, an the boy can't. And she's jus' sort of
making - it's time to go to bed type of - er, it's time for him to leave type of motions

towards her .

Total time: 1' 3"

6 GF. 37" Oh well, this man has - has startled her. She's been sitting - in - this -
restaurant. And the man knows her -- or he's been instructed to - to talk
to her for some reason, an' she doesn't know him. And he's - introducing himself. He's -
very attractive. (Pause) An' she'll eventually invite him to sit down, and they'll have--
they'll have a drink together. (Pause, 12") He ends up being a long I - a long I - a life-
long time friend of her hmband's. And, uh -- he goes home with her - and - they have

ah - get-together over dinner.

Total time: 1' 43"

7 GF. 34" This is this girl's - uh, nurse. Or - or uh (Pause) the lady who watches
over - babysitter - or what - for all the time - the homekeeper. And, uh,

they're very rich, and the parents are never home, and the h- and the -- the governess

is reading to her. This is something she should know, she's te - teaching 'er. Some boring

topic. And the little girl is - is very bored. She's daydreaming, er she's lonely - for

someone her own age. To play with. She wishes she didn't have to be all dressed up all

the time. (Fame, 10") But she just wishes things were different. But nothing changes.

Total time: 1' 41"

338

8 GF. 17" Oh, this woman is a schoolteacher. She teaches -- she teaches small
children. She's unmarried herself, an' it's recess, and the children are all
outside, and she's sitting in a chair, and she's - she's wishing she - that she were married
and had a family of 'er own, instead of everybody else's families, taking care of everybody
else's kids. She's not - she's not lonely, she's just - sort of - wishing, just sort of -
daydreaming. She knows she could have it if she wants it, but she wants it to be right,

n' (pause) n' then she'll get it when - she'll get it one of these days.

Total time: 1'7"

9 GF. 1'2" Hm.

1' 35" Well (Pause). This woman is -- running along the beach, she's been to a

pretty high class party. An' she's jmt decided that she's had enough. An',

uh (Pause) she's stopped by running into - one of the - one of the maids, um, from the
estate. Who has - who has noticed her - who - who knows her - fairly well, and - who
saw her leave the party and came out to meet her. Came out to talk to 'er. And sh - |
imag - she'll calm 'er down, and - and - they find out that they have a Iota things in
common, an' that -- that there's a Iota roles you hafta play -- t' get along, n' - there's

not much difference between 'em, and they'll get to be good friends.

Total time: 2' 52"

10. 35" Well, both of them are very sad, became - a dear - a dear loved one of

them - of theirs - has just passed away. They're married. They've been
married a long time. And sh - they're jmt - they're past their - this is probably - a
couple days after the death, and - they're past the initial shock, and they're just sort of -
comforting each other. Just being - just being sad - together. (Pause, 21")

Total time: 1' 29"

(At this point, additional instructions are given for cards 11-20)

339

11. 33" Well, these people have been - have been ma -- a journey to the (Pause)
to this strange place, this - this - cave. And they've been searching for -
some friends of theirs that were lost there years ago. Well they just - had - just run into
some - some difficulty, and they've gotten this far, and they're near the end, and they've
run into some difficulty with -- with, um, this - this at this bridge, there's a - there's a
beast of some kind guarding the bridge, and they have to get by it. One of 'em already
by it, he's running across the bridge, but there's several tied up behind, an' -- right now
their fate is uncertain, but - like all true heroes, I'm sure they'll get away, and - and

the obstacle will be - um - bypassed.

Total time: I' 45"

12 F. 9" Well, this woman's a witch. And her actual - her actual, um - personality
and her actual, um - actual being is what is behind her, this is a sort of

a - this is the real, and this is the imaginary - or what she really is. This is what she

appears to be. And she goes about in this - in this young appearance. She's actually

very old -- she's uh -- she's found a way to disguise herself. (Pause, 20")

Total time: I' 6"

13 MF. 47" Well, this guy is a (Pause) is a serviceman, an' he's - he's come back from -
he's come back from the war. And he's - has trouble in the night; he
remembers things that he doesn't want to remember, and he has bad - bad nightmares. And
he usually just - he gets up, an' dresses, an' - an' - walks around, an' - tries to forget.
Tries to forget all the horrors he saw, and all the - all the terrible things that he remembers .,

but - but he's still plagued, espectially at night.

Total time: 1' 30"

340

14. 42" (Sigh) Well, this fella, um (Pause) he's just - he - he's married, and he's
up - he's up early watching the sun came up. It's still - still pitch dark

in the home. The sun's coming up way over the hill. An' he's just - he's feelin' real good,

he just got a new job, an' - he's thinkin' about havin' a family. He's very pleased with

himself, and he's pleased with the way things are (Pause). And he's jmt happy to see

another day coming .

Total time: 1' 32"

15. 15". Well, this guy's a ghost - he's a ghoul of some - of sorts. And he's come
back - he's come back to the graveyard, he goes to all the graveyards and

tries t' - t' raise up - more ghosts like him - to go about, and do his dirty work. He's

very evil (Pause) and -- he finds little resistance to his spells in the graveyard, and he

r - raises a lot of dead, and -- causes - most of the evil and - most of the, uh - the

unexplainable occurrences, n' -- most of the evil in the world.
Total time: I' 3"
(Further instructions given for card #16)

16. 9" (Rubs card with finger)

44" Well - it's - it's very crowded - very crowded picture. Every - every sp -

every available space is full of - is full of - stores, and cars, it's - it's a

city street. It's a - ai - a - big city block, with huge office buildings, n' - signs, n' -
gas stations, 'n - it's cluttered, it's just - sort of a - not an a - it's not a - it's not a
very real picture, it's more of a - a conglomeration of - of a - just - just - to show that -
everything's too crowded, and everything's too ugly. And that, uh, you can't really
move in the world anymore. (E; "Now tell me a story about. ") Tell you a story about it?
About this picture. (E: "Mm hm.") (Pause, 10") ldon't understand, what. (E: "Well,
if I handed you - that picture - that you just described. . . ") I would have to tell you a
story with it? (Pause) Well, it's an impact picture, it's a picture that - that's supposed
to have a -- a - that - is supposed to have a feeling from_y9_u_, that you want to rig
something about this. That you want to, uh, you wanta change this, and it shouldn't
be this way. That you would be a lot happier if things - things were less crowded and

things were more beautiful and things were more green. And you had a place to move

around. How's that. (E: "OK.")
Total time: 2' 22"

341

17 GF. 31" Well, it's - it's bright - bright noonday, an', uh -- all the fishing boats

are usually back by this time - and this girl - this girl always waits on
the bridge and brings lunch to 'er - to 'er hmband. But all the boats have - are back
and have been back, an' are - an' the last of 'em are unloading now, and her hmband's
boat isn't back yet. She's very worried--very concerned. And she'll stand there and
wait until it does come bOCl< 'and maybe she'll - she'll try to raise some - raise some
cone in - in the - um - processing building in the back, she'll try to have someone go
out and look for 'im, but - they've been through this before, and they're pretty cold to
the whole thing. An' they just tell 'er to wait. And she does.

Total time: 1' 29"

18 GF. 45" Well, this might be the same girl that was - that was - sitting with her
boyfriend very late in the evening in the - in the, uh, living room, and

this might be the same mother, and - this is afterwards. The girl's very upset that the

mother was - was pressing her into - into havingz- the boy 90 home. And the mother is

very upset that the girl has - what she feels - has betrayed 'er trmt. And they're having

an argument - which the mother - with - with her senior - with her - position of power

over the daughter anyway - is winning the argument. And sh - and she's--she's even

physically - physically, uh -- well she's holding onto the girl, she's - shaking her up - or -

or getting across her message a little more clearly - however. . .(Pame). This is her way

of - of showing her concern. She doesn't realize that she's - she's not entirely-tight“...

Total time: 2' 3"

I9. Hm.

19" Well, it's been snowin' for a long time, an' it's really cold. An' the snow's

gettin' really high (Pause). An' - winter's really set in, an' this is a little

house out - out in the middle of it, in the middle of the - the snowstorms. It's not in the
city, it's out in the country, and they're - pretty isolated from everything else. But inside
it's pretty warm, n', it's pretty cozy, n' - they're well prepared for the winter, became
they've been farrnin' the land. They've got - they've got a storeroom full of food down-
stairs, n' - a hot fire goin' - (Pause, 14"). An' winter isn't - isn't harming 'em isn't --

isn't dampening their spirits or - or ruining their lives.
Total time: I' 24"

342

20. 21" Well, this guy's - homeless, friendless. At least he thinks he is. Actually

he's got both. But he's feelin' - he's feeling very shut in, he's in the big
city, it's night. He's been walking around, it's a hot, humid summer night. He's been -
just - strollin' around, feelin' sorry for himself. Wondering what he's done with his life,
n' - what - good it's been, n'. . .feelin' sorry for 'imself. Things look pretty gloomy.

Everything looks pretty bad. . .

Total time: 1' 16"

A 3"

RORSCHACH, SUBJECT E,

Card I
Mm. A butterfly (Hands card
back. E: "Why don't you hang
onto it a little and jmt - ")
OK. Keep looking at it.
(E: "Yes," keep looking at it. Most
people can see more than one thing
in a card. ")
Um. It looks more like a betetle
than a butterfly, except it has wings.
Or it could be a Peter Max design.

Um. Face of a cat.

I think that's about it OK?

Total time: 55"

(Starts to take next card. E: "Wait,
I'll hand them to you. ")

343

INTE RMENSTRUUM

(E: "Do you remember what you saw there?")
Ah, beetle-type butterfly. (EQ: location)
Ah, the beetle, fat body with the pincers
and the - wings. (W.) (EQ: Determinants)
What about the card? Symmetry. Uhm,

I think the pincers made it, up here.

And then, when it was like a cat. I have
a Siamese who lays her ears down like
that, so. (EQ: location.) OK, like the
eyes (Dds30), and the - mouth (Dds29),
and the ears (D7). (E: "So it would be
the face of a cat. ") Yeah. Mm hm.

(EQ: Any further determinants.) No.

(E: "You mentioned one other thing,

too, that you saw. Do you remember
what it was?") Hmmm. Other than -
beetle, butterfly. (E: "Peter Max
design.") Oh, yeah, I guess that was

just my impression of everything, it
doesn't . . .(E: "Would that be the whole
thing, too?") Oh, you mean--total,
you're talking about? (E: "Mm hm.

Or - where would it be?") Oh, oh,

that - you're talking about the Peter

Max design. (E: "Yeah.") Oh, um,

I guess I might get that impression

mainly from the - the, ah, things down
here (bottom half of D2). He has a
tendency like - to flow things. (EQ:

Further determinants.) I think it's the

A6"

Card II
Some sort of a mask, um
(Pause, 32")

Two hands with mittens.

I think that's about it.

Total time: 6]”

lack of looking like nothing else (Iaughs.)
(E: "OK. ")

(EQ: What you saw here?) Yeah, the
mask. (EQ: Location.) Ah, yeah, eyes
(D2) the mouth and the nose and the cheeks.
(E: "Now the mouth is where?") Right
here (D55). (D: "And the nose?")

The nose is up here (top of D55) . (EQ:
Determinants.) Um, probably the drama
mask, um. Something just to portray
emotion. (E: "What emotion would it
be?") I wouldn't want to say, oh, sorrow,
or, um, anything to frighten. It's more -
just - ah, a kind of -- ah - no - you

know - devoid of - of a -- emotion,

just something to cover, something to
decorate. (EQ: Further determinants.)
No. (EQ: What else you saw.) Mm mm.
(E: "Two hands with mittens. ") Oh yeah,
right here (D2). (EQ: Determinants.)
Cause there's really no shape to them,
there's jus' - it's like - the palm ofa
hand, jmt sticking out. (EQ: Further
determinants.) Yeah, they kind of stop.
The color stops, or shades off. (EQ:
Further determinants.) No. Just. . .

A 4"

><

345

Card 111
Two people. With some kind of
bowl, or pot or something between
them, something round.
(Pause, 46")
It's not exactly - can I turn it?
(E: "Oh, yes '.") Looks like a bug,
upside down. With a big red bow
on his back.

Yeah, I think that's about all on that

one.

Total time: 1' 25"

The two people (DI) two people with a
round pot, bowl, whatever (very softly)
n' the beetle with the red bow on the

back. (E:

stick with the people for a minute. ") Oh.

"No wait a minute, we'll

(E: "Now, what is it that they're doing?")
Well it just looks like they're both hold-
ing on. (E: "Uh huh, holding on to. . . ?")
Onto the - round object in the middle, and
l - from the postmes you can't -- I can't
relate to how - that - that they're pull-
ing, ah, they're dancing, if they're shar-
ing. . . (EQ: further determinants.) No,
it's just the - general shape. (E: "OK,
then the bug. ") The beetle, with the
pincers, and the red bow (DI and D3).
(EQ) Again, it's the pincers (D5) and,
like a, I don't know if they have mouths
(D7) - and the eyes (D4). (EQ) Mm mm.
Except when I really look closer a beetle
might not look like that, but a nice

stereotype beetle .

A 7"

346

Card lV
M"

V 21" Again, my first reaction would be

>v<’\

A>V

some kind of a butterfly.
(Pause, 43")

M‘ '. (Smiles) That would be -

I don't know how to say this - a
monster on a piece of glass so that
you're looking up at him. (Said very
quickly.) (E: "A monster standing

on a piece of glass -?") —So that

you're looking - up - at him .

Total time: 1'40"

Guess I had to say a butterfly on this one,
didn't I? (E: "You say you didn't?")

I said I would have to've. (E: Location)
Yeah, it's kind of - well the body, and
the wings (W) . Or a monster on the glass.
(EQ - further determinants, butterfly.)
No, and they really don't, because they
-they're shaped wrong. That should be
down there. (E: "And the monster?")
These are his feet (D6). And his tail (D1),
and his arms and hands (D4), and his head
(D3). A perspective shot. Standing on
glass. (E: "What kind of a monster

would that be?") I was going to say the
creature from the black lagoon, but then
it reminded me more of, um, oh, I'm not
up on their names -- well, the one that's
always after Tokyo. (E: "Oh, yeah,

uh huh. ") Yeah, he's a (unintelligible)

or something. (E: "Godzilla?") Godzilla.
(E: "So, it's - is it more an animal-type
monster or a human-type monster?") Uhm--
this one - I see it as more human than I

do animal. Except for the tail. (EQ -
further determinants.) No, it's just that

- big . (Laughs)

A
>
v
?z
A

347

Card V
3" I hate to keep saying butterflies,
but. (Fame, 16")
Two birds' heads
Mm. That's it. (Laughs)

Total time: 40"

Card VI
A skinned fox .

A skinned fox (laughs).

Total time: 53"

This one is a butterfly. (EQ) The wings,
I guess, some have little - tails. And
then the - feelers. (EQ: further deter-
minants.) No. No, just a butterfly.
(EQ: What else you saw.) Oh, the two
birds, yeah. Like, ah, they're neck to
neck without bodies - and their beaks
(010) ,1 and heads (rest of D4). (E: "OK,
so you're seeing them just from the neck
up. really.") Mm hm, right. (EQ:
determinants.) Just, 1 think just the beak.
(EQ: Further determinants.) No.

A skinned fox. The head (D3) is on, the
neck, the foot, and jmt the body (W).
Tacked on a wall, and stretched out.
(EQ: determinants.) I think just the
whiskers. (EQ) Yeah. (EQ: further
determinants.) It should have a tail, if
it's a fox but it doesn't. Kinda like a --
cartoon, ah -- the cat. I don't know,
jmt the head -- There's a cartoon
character of a cat who's got a (tape un-
intelligible.) (E: "Kind of a cat -fox.")
Yeah, right, a cartoon. (EQ - further
determinants) Just that it was - kinda
flat. Like someone, ah, would tack it

up on a barn door or somewhere else. . .

A 5"

>Q<O

><>V

348

Card Vll
Hm, seems to me I've seen this
in a textbook somewhere (Laughs)
(Pause, 15")
Uhmmm, two, ah, human-type forms
facing each other, ah, like two - oh,
busts of - Cupid busts, or some kind of,
um, angelic type-baby face.
Mm.
Two ah, fists with just the little fingers

up.

1' 25"

Total time:

Oh, yes, those two strange little things.
This is what I was talking about when I
was seeing the heads. They must be on
top of clouds, I guess. And then the
fingers of the hands this would be. (E:
"Well just a minute with that, now these
are the clouds (D4) and these are the heads?
[D1]?") Yeah, right. (E: "So - is this
anything?" [D3]) No, I said like it would
be a bust of. (EQ - determinants ) I
don't know, I just sort of got the feeling
of like - cherubs, something, something
like that. Because - the - the lines -
are round, and - are kind of soft, kind
of nondescript. (E: "What made it
seem soft?") I think just the shading.
(EQ - further determinants.) No, they
should have bodies, but - just the fact
that they could be sitting on clouds.

(EQ - what else you saw.) The fist.

The fist with a little finger (gestures)
(DI). And I didn't even connect 'it
with that. (EQ - determinants.) I don't
know - it just kind of hit me. Just the -
probably, I think just the general shape.

I don't know.

A 7"

>

>AvA>

349

Card Vlll
Mm. A fossil. (Briefly flips
card to back side.)
Ah (sighs), a mirror reflection
of some type of --ah, cat -stand-
ing on two rocks, m - pond - type

thing.

Total time: t' 5"

Oh yes, the cat looking at himself --
Oh, oh wait - I saw something first.

This is -- what - what reminded me of

a fossil (D3) . Some kind of trilobite-
shape. (E: "Was it the shape that made
you think of that?") Um, no - I - I
really think that it was more this, right

in here. (E: "Yeah, what aspect of that?")
Oh, just like - I mean the backbone --
kind of a cage - front. (EQ: further
determinants.) No. That's - the cat-
like animal (D1), whatever it is, and then
- the two rocks that he's kind of stretched
across (D2 and D5) , and the piece of
wood (D4), uh, with the water and the
reflection. (E: "What made it seem like
a reflection ?") --Why did it seem like a
reflection (to herself), 'came it's the
same (laughs). (E: "Aside from the fact
that it's the same, is there any -") No,
it's the only way I could explain it - as

a picture. I just couldn't say well there's
- just cut it off, I mean, it would make
it more realistic to say that it was a
reflection. (EQ - determinants) Four
legs -- uh -- just the fact that it's
climbing around on rocks. (Laughs) (EQ-
further determinants) And, um, the fur.
(E: "What made it seem like fur?")
Well, there's no line, it kinda stiwcks up.

Kinda the shape of the head - and the body.

41"

V>/\>

350

Card IX

Mm, say, oh, an embryo - attached
to the placenta. Fetm, rather.

Kinda Peter Maxy .

Mmm .

Ah -- an atomic explosion, a mushroom.

Total time: 1'26"

To start with, a fetm (D6), and the
placenta (rest of W), and--(E: "What
reminded you of that?") Probably 'cause
I just got finished taking a Human Sexual-
ity Course (laughs). Ah, I couldn't see
anything in it, and I think it was just -
the kind - the shape - the kind of eye,
the shape of the head, and just, you
know, the general -- shape, pretty
nondescript, not really human, but yet -
a fetm is human. (EQ - further deter-
minants). The color - pink. (EQ) And
then it - seems to be attached, directly
attached to. . .(E: "Anything that made
you think of the placenta, particularly?")
No, it's jmt that I had to attach it to
something. (laughs) (EQ - what else
you saw) Oh, then the uh mushroom-
type cloud. Kind of giving the feeling
that it's blowing apart here (upper part
of D5 and D58) and then moving out
(D9). (EQ - determinants.) Uhm --

the fact that - there's nothing right here,
and then, it's kinda, again, jm' this line
(midline), this movement outward. (EQ -
further determinants) I'd say the color,
but the color really didn't - all right,
the color down here (white space in
D58), kind of a - bright flash. That's

about it.

A

3"

351

Card X
Little bugs. Caterpillars and
crawly things. (Clears throat)
(Pause, 37')
Mm, I can't get away from the
little bugs - I can't make it

whole.

Total time: 55"

Oh, the bugs (laughs). They just, when |
first men - my very, my very first impress-
ion was jmt little crawly things. 'Came
they're - everything - kind of nondescript,
they're - they're not really solid. And,
the more I thought about it, the more I
couldn't get it out of my mind, little
crawly things. I did, though, when I
turned it over, I saw like two little sea-
horses, then I - didn't have an explanation
for anything else down here. (EQ - deter.-
minants) . Well, are seahorses green?

(E: "If you want them to be green, they
are. ") (Laughs) Probably the color.

(E: "All right, so when you saw it, over-
all, as just crawly things, you didn't
really pick anything specific out of it,

it was like a general impression of it.
OK,Vhen you said that they weren't solid,
what did you mean by that?") What' did

I mean by solid (to herself). Oh, there
really isn't - too much of a definite -

uhm - starting and finish point - point
between the colors - and the white,
there's no - really too neat lines, they
kind of fade out. Some white . (E:

"The boundaries are kind of indefinite?")
Yeah, they may be definite on one side,
but not on the other. And I - could be
like looking through a microscope, too.

Those strange little things that you don't

352

know the names of. (E: "You mentioned
that the colors fade into the white. Does
that mean that the colors are - are part
of what you're looking at there, or are
you looking just at the shapes, but not
the colors?") No, the colors, uh huh.
'Cause I think the colors - definitely

affect the shape.

Total time for 10 cards: 12' 20"

5'5 voice rather soft throughout. Laughter also soft.

Conversation after inquiry:

E:
S:
E:

MITIMI'H

"Have you ever seen this test before?"
"Yeah, uh huh."

"You have? "

- "I haven't seen - exactl - the one I remember is about the cat.
Y

the one I said was like a cat. Because when I said it, I was, uh,

going to a psychologist at the time. "

"Oh, really?"

"That was about - three years ago. But - hers were all black and white. "
"Oh, so they were different. "

"Yeah. "

TAT, SUBJECT E, INTERMENSTRUUM

Card 1.14" Uh, the little boy wants to be a great mmician. -- He's already
committed himself to this, and he's jmt started taking lessons. And he'

seems to be sitting there contemplating his own -- future greatness, and fantasizing about

--about that, in general. And it's - just seems like - uh more ah -- him reinforcing

his own - commitment to the instrument, and to the field of mmic, through his fantasies.

Doesn't look like he's angry - with the violin, and yet he doesn't look - uh, like he

hates it. So this is kind of a , you know, like - right before the first lesson or right

after the first lesson. But not much. (Laughs)

Total time: I' 22"

Card 2 . 13" All right. The girl with the books - represents -- an ambition, a goal,
something different than'what is depicted in the background. Of the

life style that - she may have come from or is expected to stay within. And which - she -

doesn't really want. And the life style that she's getting out of is - is the - agriculture,

farming, the woman, ah, bearing the children, the man tilling the fields. Without really

much thought - of why they're there, and what they're doing. And she seems to've ah --

thought about it, and decided to make a change. (E: "How will it turn out?") Oh --

either way - No (laughs). This (unintelligible) doesn't make (unintelligible). I think

just the fact that she took the first step, and decided - to, ah - break away from that

life style, that she will be happy. No, I can't say happy. Uhm, - she will be committed

-- uh, to her decision. 'Cause you can't tell whether she'll be happy or not.

Total time: 1' 34"

Card 38M 15" Uhhh - I see the person in the picture as a female -- and uhm, this female
has lost - something -- that has meant very much to her, again, I hate to

P1" it down and say - a man, or a child, or - but it's something that - that she needed

very much to, uh, support her, and it's gone. And | see her feeling -- sad. Kind of

lost - yet - reflecting - on what's happened. As for outcome, 1 think after any kind of

situation like this the Person - kind of puts the pieces back together, but they don't -

353

354

really go back the same but - the person isn't - I mean I don't see this person as just -
falling totally apart. I see them as just - starting again, but - with the pieces in kind

of different places.

Total time: 1' 30"

3GF. 4" She looks like she's either sick or she's sad, and I can't decide (laughs).
I would e - I would say that - the - the woman is ill. Physically ill,

not emotionally. Uh, well. Became -- l have - I have never - myself seen emotional-
ism to that point. Only on television - (and so, of course) (said under her breath). That's
why I say she's physically ill. And She'll run to the bathroom and take Mo aspirins, and
it'll be all right. (Laugh) (Pause) Hm. She couldn't've just injured - something. . (said
softly). You want me to say how it's gonna come out. Well she doesn't look like she's-
she looks like she's going for help, whatever it is. (Pause) Yes she's going for help and

she - she wants help and she's seeking it. And she'll get it. Take two aspirins (laughs).

Total time: 1' 26"

4. 3" Oh, "Streetcar Named Desire" - this one reminds me of. Hm.

20" All right. From - the dress - and the picture on the wall, I would place
these people in - in the lower-middle class. Um. The woman is asking something of the
man -- that he cannot either accept, or does not want to accept. And that's why he's
turning from her. Yet she has a kind of a -- sly - look about her like - she's manipulating.
And this could be why he's turning away from her. Either he - doesn't like what he sees
-- yet the man does not look - strong to me, strong enough to - stay away from the woman.
By the expression on his face, become I don't see - hate, I don't see disgmt -- I see kind
of a - oh - a childish look. It's not right to portray the man as the child and the woman
as the strong one (laughs). Uhm, yeah, I -- I don't think the m - the man will stay with
the woman, or he'll go back to her. Is this definite enough? Do you need more?

(E: "It can be any kind of story you want to make it. ") Oh, OK . (E: "It's really. . . ")
I keep on carried away with details. Yeah. (E: "You know, there's no right answers to
these things. ") Yeah, but I thought maybe you would like more - more details. Like

name and number. . .OK . Yeah. He's gonna lose, she's gonna win (laughs).

Total time: 2' 24"

355

5. 4" Hm. Another classic textbook one.

12" Uhm, my first impression was that l - I saw -- fear or anger on the
woman's face, but - second impression is I see curiosity. Her ah -- position at the
door is kinda like peeking, not just - entering. So she is - rot really sure of what
she's gonna find in the room. And that's why I say kind of a curiom, rather than a -
fear on entering. As to what she's seeing in the room - maybe she's curious about it.
She could be watching two people. --- Uh, she may have heard somebody playing
the piano, the little boy could have picked up his violin and learned how to play it
and she - the mother can't believe it (laughs). And. I don't think with whatever
the woman sees in there, that she's gonna be really mad. It's just a curiosity thing,
like, 'what are you doing?’ And I don't think she's going to be shocked or upset
by anything that she finds.

Total time: 1'45"

6 GF. 10" OK, the man has said something to the woman - the woman doesn't

like. Um -- could be the woman has taken offense, not become
of what the man said, actually said, but what she's feeling inside. I can't really
tell from the man's face if it's like an honest -- type thing. You know, if he's -
asking her a question that - that, oh, he wants an honest reply to -- but I would -
I would say from her reaction it is something more than - the question is - is some-
thing more than - uh - uh, trivial, I mean that - something that they bath are deal-
ing with. I don't think the woman likes the man. (Fame, 13") As far as the man
I - I would say - just from face value, that he doesn't really like the woman.
(Phrase too soft to be heard.) Anyway, I don't think they're going to stay friends
very long (laughs).

Total time: 1' 45"

356

7 GF. 13" The uh, little girl is dreaming -- of what her life will be - as -
or she has placed herself into the story - that - the woman is
reading her. And she's fantasizing - herself as the role of the heroine or what-
ever in the story. Or she is - I can't - really tell from the expression if she
is comparing what she thinks her life will be to the story. Of if she's jmt into
the story. But - in any event I think - I would say that she's dreaming. She's
daydreaming. Uh, the woman seems very intent. (Pause 25"). I see the little
girl doing the same thing to her little girl, reading - to her little girl. And
allowing, you know, her little girl the same daydrearns and - and fantasies

that she had - when she was young.

Total time: 1' 49"

8GF. 22" I see this woman as, uh, someone who - must - work. And I
see her as a manual labor type of work. And - it seems to
me that she's kind of es - escaping from, uh, her real - world, into a world
that - that she thinks would be much better. Kind of - it makes her life
easier. (Pause) And I don't really see her daydreams as - as being harmful.
Because they're just kind of an escape mechanism. A release. But she'll
come out of her dreams and - come back - to, uh, reality, and won't be

harmed either way.

Total time: 1' 28"

357

(Here E, who has been coughing, takes a cough drop and E and S

briefly discms the ease of catching a cold at this time of year.)

9.GF. 15" Uh, I see the woman standing by the tree -- uh, as - observing. Oh,
because of the difference - of expressions on the two women's faces I
see her as an ab - as observing rather than entering into. Ah, the woman - that she's
looking at seems to be showing, ah, some type of fear, or anger -- so I would say that
the woman by the tree just kind of - uh - came upon the situation -- and is, you know,
watching. What happens - as to their relationship to each other, I think just the fact
that she would be interested, and -- and be in the proximity of these people, there must
be some - type of relationship. Oh, from her expression I can't tell if she's pleased
with what she's seeing, or she's upset. But she's interested. And what she's observing
will - more than likely, I'd say - almost - will, definitely - shape her relationship with

the other woman .

Total time: I' 55"

10. 47" Uhm, I see an older couple. Ah, uh - I see them showing compassion -
for each other. Maybe they've just had their -- some type of wedding
anniversary - thirty-fifth, fortieth, fiftieth (phrase too soft to be heard). Then -- after-
ward they're remembering of how good - their life has been together. They're really
thankful for what their life is together now as well - as for what it has been. And hope
that they will - be able to - keep this happiness. That one of them won't die soon. So
it's just kind of a - a moment thing. A reflection of what they've had -- and of what
they have now, and what they hope to have - for how long they hope to have it - that's

where the age thing comes in.

Total time: 2' 10"

At this point, further instructions are given for cards 11 - 20.

358

11. Oh. goodness.

5" This reminds me - very much of - ah - the movie, "Journey to the Center

of the Earth," Ok. Ah (pause) l - l - I see the, ah, the uh, kind of -

plateau - as a goal - a goal that - I would - I would be trying to get to -- instead of
run away from. Yet | see the - serpent-like monster as - uh - blocking me - it's some-
thing I'll have to deal with. I can't - really say what that is on the plateau. Could be
a giant bug -- uh, yet it all - it also could also be some kind of vehicle that would -
enable my escape from - from these surroundings. Kind of -- unnatural art, you know,
they seem man-made to me, you know, I don't know if this is anywhere near man (laugh).
Yeah, yeah, OK. I'll say that the thing on the plateau is - is my - means of escape
from where I am now. And I see the serpent as a threat - to my means of escape. (Pause)
Since they have those nice big rocks, I'm sure I could throw a rock or two at him - get
rid of him. I really don't see him as that much of a threat, became - as far up as he is in
- the - the wall, and from the looks of the way he is built, there's no way he could get
down without - killing himself. So it's just kinda like a suspense-type threat not having
any - effect. 'Course then my - vehicle could be kind of -- about ready to follow on
the other side - and the light reflected on the other side of the bridge could be - molten

something and - burn up (unintelligible).

Total time: 2' 38"

12 F. 40" OK, I see an old woman -- and - a young man. Uh, the fact that the
woman is placed behind the man, | see her as kind of, ah -- having some

sort of power over him. And - the look that she has about her also. (Fame, 16") Um.
Whether it's, ah, O - OK, I'll say it's a mystical power, rather than-a - she is not
really a - physical thing. (Pause) The look the young man has is - to me - is kind of a
detached look. I don't think he r - is really aware - of the forces that he has to deal
with, and by the forces 1 mean those - symbolized - by the old woman. He seems -
idealized. Whereas she doesn't. I don't think the young man will ever come to grips -
with the old woman. I think - he'll never realize - what it is that he's dealing with.

And I think it's gonna be a - a great source of sorrow - for him.

Total time: 2' 44"

359

13. MF. 20" All right, the man has killed the woman. Um. Crime of passion (softly).
'Cause he's dressed I can't say - I don't think it was a - a sex murder I -
Y'know just became she's nude 1 - but he's fully dressed, I can't say that. So he's killed
the woman, he's sorry that he did kill her -- and he - like he couldn't help himself type
thing. And I'm sure he'll be caught by the police and locked away somewhere -- and
rehabilitated as they say. Yeah, she looks dead to me (pause). And he looks sorry that
she's dead. He coulda walked in and found her, too. No, I still say he did it (laugh).

Total time: 1' 34"

14. 15" All right I see - the young man - looking out - looking out from blackness,
he's looking in - into whiteness. To me, this symbolizes that - things -
that he - that he's leading - or things that he must deal with right now - are unhappy,
and are not what he wants. Therefore whiteness that he's looking out to is - what he sees
as his future, or what he hopes for, in his future. I think became the uh, the window is
open, there is a chance - for the young man - to, uh those dreams or at least get out of
the blackness someday. (Pause) Ah, I don't - feel sorry for the young man. Because he
does have a way out. | feel sorrow for him became he's - come from this blackness, but -

he's going to something better.

Total time: 1' 24"

15. 10" Mm. I see the - the typical stereotype Hollywood-image of a mortician.
Somebody Who deals with death. I see him in his surroundings. His
environment which are graveyard, death. Ah, the position of his body seems to say that
- he - he realizes - what death is, but yet - this closeness - he doesn't want to touch it.
He doesn't want to - really have anything to do with it. (Pause, 33") l jmt keep wanting
to say that I think he'll die soon. I really don't know why. Maybe became he's - he
can't stand the pressures anymore. He's getting too close. So either he has to get
completely - away from everything that - that he has been, or stay - with what he is,

and his surroundings, and - cease to exist.

Total time: 2' 4"

360

16. (Before instructions are given by E, S laughs and says,
"What do I see here?" E then gives instructions.)

45" OK . I see - people - trying to convince everybody else - that - they're
happy, and they're not lonely. Kinda like - springtime on the banks of the Red Cedar,
everybody, ah, laying on their blankets, trying not to notice the people staring at them,
and vice versa. It's kind of a fear of admitting that - that I am lonely - not wanting
others to know that you are. And I see it - not changing. Became of the feat», ah, the
need - to keep up the facade - the need to make sure everybody thinks that you're OK .
I can just see this vision of these people jmt layin' on the Red Cedar, on the banks, on
their old blankets, reading away, trying not to stare at the people walking by who are

staring at them .

Total time: 2' 10"

17. GF. 20" See the girl on the bridge. A girl. Could be a guy, but I'll say it's a
girl. First impression. Ah -- looking down - on the water as a source of
es - of escape, with - her life portrayed in back of her - the - the docks, and so forth.
Ah, I think the reason I - that I say she's contemplatin' suicide is 'came the sun's blacked
out. (Pause) So I see it as kind of a - suicide scene. Um, the - her life being behind
her, the docks and the unloading, and - death being before her. And I see her as taking

death - became she's on that side of the bridge.

Total time: 1' 25"

18. GF. 25" I see a mother, caring for a - mentally retarded child of about - 25. Her
child and she can't - she can't - accept - the condition of - of her child.
(Pause) Yet she can't reject the child. I see this as a very - dependent relationship -
the person being very dependent upon her mother. Yet the mother also being very depend-
ent - upon - the person became - from this--sorrow, grief that she puts herself through-uh,
for her (word unintelligible) she gains some kind of - some need is fulfilled by this for her.
(Pause 15")And she'll care - for that child - that person - whatever - until it dies. And
her feelings will never change. She'll view it as a child, that's why I keep saying a child,

became, she'll view it as-a child-something that has to be cared for.
Total time: 2' 6"

361

19. 26" Uhm. --This reminds me of a - a cartoon of the story of the little match
girl. Became of the snow? I see snow in it. I see kind ofa little town -
with one home. Predominant in front. With the windows. I think it's the windows that
made me think of that became I expect to see the little match girl come walking in on
the other side, and gazing into the lit windows. Then, uh-l don't remember the story.
When I first saw it, I thought it was very abstract, 1 was thinking distorted - um -- not a
realistic perception, you know, say - tripping, or something like that. I don't know why
the whole magical thing hit me. But it jus' kinda reminds me ofa cartoon. Something

that isn't real. But yet is real enough to relate to.

Total time: 1' 32"

20. 20" I see the man under the - the lamp post - as - lost. Rejected - type
person. Someone, maybe who's never made it - in their lifetime. Or
someone who has made it and lost it all. Oh, I would have to say somebody who has
made it and lost it all, because I don't think -- I don't know, just - just the fact that -
the situation seems new to him, I don't know why. I don't know why he'd be leaning
on a lamp post - so I'd say new. Probably because I don't think that the people that --
I see this as like New York City, um - in the park. I don't think people that have been
used to that kind of life style would just - go lean on a lamp post in the park. So I say
it's a new situation. Uh, he looks like he's - thinking - his head is kind of hung, his
hands in his pockets - and he doesn't look too happy. And - jmt the fact that he's
leaning against the lamp post, I don't think things'll get better for him (laughs).

Total time: 1' 44"

S's voice is rather soft throughout. Laughter also soft.

RORSCHACH, SUBJECT E, PREMENSTRUUM
Card I
A 4" This looks like my cat, Pie- This looks like my cat, Piewacket. (E
wacket. Or - a uh, beetle asks for spelling, which S gives. Name
with wings. I don't know if of cat is from the movie, "Bell, Book and
they come with wings. Candle".) Well, she has a tendency to
< just flatten out her ears. And she's a
Siamese. So she has the - elongated
face with the tufts at the sides. And
Total time: 27" ever since the first time I saw it, it re-
minded me of my cat. (EQ) No, it's
just the - I think the ears. (EQ) Yeah,
just the head. (EQ what else you saw?)
Oh. . .The beetle? (E: "Mm hm"). Well,
this is a winged beetle, but I've never
seen wings like that, jmt the body.
But - I guess these are the pincers (D1),
and those are the wings (D2). (EQ) A
beetle? No, just, I think jmt the basic

shape, the whole shape.

Card 11
A This is the mask. Um. This is the opening

for the mouth (D55), and the nose. (EQ)
Right here, the line (D4). The (way that

V 6" Um. Looks likea m (clears

throat) like a mask.
comes up, like up to - right between the

eyes. And these would be the eyes.
Or a butterfly WHhOU' a body. And then, this would just be the cheeks
(D1), down here the chin part. (EQ -
eyes location) Right here (D2). The red.

(EQ) Um. (Pause) I don't know, it just

v <>A>

Total time: 32"

looks like something that would fit over

a face - to me. And - it looks - like
362

363

masks that I've seen, not - exactly, but

I mean the general shape. 15 a kind of

a mask (EQ) I think just the black. (EQ)
Then the red? Oh, you're saying the shape
or the black. The shape. (EQ) Yeah,
'cause masks are usually more colorful.
When I think of this as a mask, I was
thinking of - in a sense - of some kind of
ritual mask. Rather than Halloween or
something like that. (E: "So the redness
would contribute?") Yeah. It's not a
mask just to cover, but to symbolize.

(EQ - red or black more important) Um.
Obviously black, 'came it's the predomi-
nant color, covers more. (EQ) Oh, I
saw something else? (Laugh). (Pause)

I don't see it now. (E: "Butterfly
without a body?") Oh, well, yeah.

This being the wings and the feelers (D3)
and the absence of white denoting the
absence of (Dds in Dd24). (EQ - location)
That doesn't have anything to do with it.
(EQ) Oh, and here are mittens (D2).

(EQ) Yeah, wings and the way the
feelers come up. (EQ) No.

A 2"

t<V

9"

>V><>

V

364

Card 111
Two people, at - some kind

of round pot. Two females .

Or a beetle.

Total time: 29"

Card IV

Some kind of - like animal skin.

Or the monster on glass (laugh)
I've been through these so many
times, I can't think of anything

imaginative anymore.

Total time: 34"

Two females and pot. (laugh) (D1). Uh,
this being the - the females, and I say
they're females because - they have - a -
some type of breast development. And -

I can't tell if they're dancing, or fight-
ing, or what exactly is going on. And it's
just some kind of round - pot. And this

is upside down - or right side up (laugh)

- a beetle. Uh, these being the arms
(D5). And - the pincers (D8), and - the
body (D11). Red bow on it's back (D3).
(EQ) Well, specifically the arms, and
the shape of the head. (EQ) No.

Did I say this one was a butterfly or was
it an animal skin? (E: "Well, you didn't
say it was a butterfly, but tell me about
the butterfly. ") Oh, I get so tired of
calling everything butterflies. Well, it
could be a butterfly in that this would be
the body (D1). And, these would be the
wings (D6 + upper lateral half), I don't
know what, I don't know what those
would do (D4). But jmt the general
shape (butterfly is V). This is my giant,
upside down (A) (laugh). Um, he's
standing on glass because you're getting
a - upward perspective, upward. Like
these are his feet (D2), and - his tail (D1),
and his body (large mid-portion), and

his hands, arms or whatever (D4). And

 

365

his head (D3). (EQ) Oh, just - something
that we - don't see everyday, a monster
type. (E: "Um, when you say a giant
like - how big of a giant, is he huge, is
he going way up into the distance, or,
like - how big is he?") Oh, he rates at
least twenty stories (laugh). (EQ) Well,
(sigh), this would have to be on a ‘piece
of glass (laugh). Became it would be
upward. Off quite a ways. Cause he's
very large. (E: "And you'd be kind of
very small, and he'd be very big".) Mm
hm. (EQ) Nn nn. (E: "What else. You
mentioned one other thing. ") I did?
(Laugh) Hm. The only thing I can think
would be the animal skin. (E: "mm hm. ")
Yeah well, it's jmt -- like, um this being
the body with the head (D1) and they're
split open. And the arms (D6, D4). Just
the general -- four shapes here, and the
head (EQ) Oh. Well, became of the
way this is - (lateral edge of D6) not
really smooth, it'd have to be some kind
of long-furred animal. Uh. . .it has more
fur than a fox (very softly). Oh, a fox.
(EQ) No, just the edge. Just those

right there. (EQ) No, just the four -
basic shapes. And became l was tired

saying butterfly (laugh).

(15> V>

366

Card V

12 "A butterfly.

Or, um. Just two bird's
heads connected at the

throat. No body. Like
crows, I guess, sparrows

Ol' CI‘OWS .

Total time: 35"

This is a butterfly for sure. And the birds.
Um, which do you want to hear about
first, the butterfly or the birds? (E:
"Oh, either one. ") Uh, the birds the
two heads, of birds, connected at the
neck, but no body. Uh, this being like
the foreheads (D11), the back of the
head, and then the - bills (D10). (E:
"And then the rest of this is like the
neck?") (Rest of D4). Mm hm. (E:
"Now, these things are they part of
that or are they not (D8 and D9) ?")
Well, yeah, there's like somebody -
cut off the heads of two birds and then
split the skin up. (E: "So the whole
thing is included?") Yeah, the whole
thing. (EQ) No, I think itwas just
the uh general shape of the head right
here. With the bills. (EQ) Yeah, I
was thinking of crows became they're
usually very long, and became they're
black. (EQ) Mm hm. Oh, now the
butterfly? (Laugh) It could go either
way (A or V). This way (A) These
are the wings (D4). And, this is like a
tail (D9), and the head (D6), with the
antlers - feelers. (EQ) No.

367

Card VI
A 6" Looks like a skinned fox.
<
V
A
<
2 That's all I see on that one.
Total time: 38"
A Card VII
V 9" Um.

15" Looks like two - angels heads
(scratches nose) Cherubs,
A whatever. Two hands. Hand

and a fist and a little finger.

Total time: 40"

This definitely looks like a fox skin to
me. (EQ) Uh, I think primarily this
right up through here reminds me of
whiskers (D6). And they have I guess,
tufts of hair in the cheek below the ears.
And the shape. The top reminds me of a
nose (D7). It's that type of nose. And
again the four shapes, appendages
(Dd25 and D9). And - I think another
reason why it reminded me of an animal

skin is because of the marking right here
(D5). This is darker and .then lighter.
(EQ) No. Mm.

Cherubs. Um. They're on clouds (laugh).
And these are the clouds (D4). And it's
like - the bmt. Uh, like figurines. And -
this being the heads (D1) with either some
kind of headgear or hair (D5) . (E: "And
then this part is -?") Well, this is just
like - the bmt (D3). Like - here up -

the shoulders. And then - the outline of
the face, a profile. (EQ) I don't have
any idea (laugh). Um, I think - maybe,
the lightness of this one? And just - I
think, uh, primarily it was this - this
general shape right here (DI). (EQ)
Yeah, mm hm. I think - I identified

the shape first as being some kind of

human beings, and then because of the

lightness -- made 'em be cherubs. The

A

368

Card VIII

> 3" This is the reflection of the -

>A<

would be a - kind of - cat or
bear - like animal. On two

rocks. Into a pool of water.

Total time: 33"

hands (laugh)? I disregard this - from
here down (D1 only included). And uh--
this part is the closed fist (D1) with this
being the thumb (D8) being wrapped
around. And this is the small finger,

little finger (D5). (EQ) Mm mm.

Um, this is a reflection of the animal.
The rocks (D2 and D5) and some piece of
wood (D4) foliage. And this is the animal
(D1), stepping or looking, seems to be
peering into the water. Standing on the
two rocks and piece of wood. (EQ -
location) Yeah, right. (EQ) Something
small, not too large. (Pause) I don't
know whether to put it in the dog or cat
family. (E: "An animal of - indetermin-
ate species. ") (Laugh) (EQ) Just his
general shape, and - and four legs, and -
the, uh, shape of the head. And it -
looks kind of furry. (EQ) Just the way
the, uh, the blot's fuzzed out on the sides
(Dd on lateral side of D1). (EQ) Um -
this group of rocks looks like rocks to me
became of the shading (D2). (EQ) Yeah,
some sort of perspective there. The shape
with - perspective. Um -- this looks -
like a rock, I guess, because it doesn't
look like a tree. (D5) (laugh). And
that's what would fit, in that kind of

scene. And jmt - the - the shape of

369

A Card IX

V 31" This looks like an inverted uh, I
don't know - some kind of an
explosion.

> (clears throat.)

Total time: 1' 36"

this, make it look - makes it look like
some sort of branch (D4). (E: "What

was it that made you see the whole thing
as a reflection?") View the whole thing
as a reflection? Became it's symmetrical.
And it's - I mean - in order to - view the
thing as a whole, you'd have to see it as
a reflection. (E: "I can - see that you
thought that was a silly question on

my part, but -. ") (Laugh) Yeah. (E:
"You know, I can't assume that I know
why you thought it was that way. ") It
was a funny question (laugh). (E: "People
give different reasons for seeing the same
thing.") Yeah, Iknow, Iknow. Butl
just got off guard I said, well can't you
see that it's a reflection (laugh) ? (E:

"Sure, it's a reflection. ") (laugh).

The explosion. Um. It's exploding this
waY (V) and I think why it gives me that
feeling is because of this line (D5). And
--like an atom bomb--type explosion.

I guess the three colors symboLibe some
kind of - heat intensity, or heat re-
duction or something, I don't know.

(EQ) I think just the general shape of
the top one (D9). (EQ - color or shape
more important)l get just the shape (EQ)

Mm mm.

A

370

Card X

V 3" This is the one with all the

little bugs. And the two
seahorses.
Looks like something you'd

see under a microscope.

Total time: 25"

Total time for 10 cards: 7' 17"
Conversation between free
association and inquiry:

E: "You said you've seem them
so many times, do you have them
memorized?"

S: "Just about, yeah."

E: "Do you ever see anything
different on them, or do you

always see the same things?"

S: "I try to each time. Um, but,

very rarely, very rarely do I. "

E: "How many times does this make

altogether?"

5: "I've lost count. "

The bugs (laugh) and seahorses. Um
(laugh). These are all like little --
bugs, or something you'd see under the
microscope. And these are what I - what
look like seahorses to me (D4). And it's
became, I think of their color, green.
And, because of their shape. They're
kind of - S-shaped, or however - sea-
horses are: Shape of the head, the
crown, whatever they are. But they

just reminded me of seahorses. (EQ) Hm.
(Pause) That's kind of hard to distinguish.
I would say its--probably the color.

(E: "Now all those little bugs. Do you
just see those as undifferentiated bugs,
or are they any specific things?") Yeah,
like these, oh, I mean, are there likes,
pairs? Oh, no, they're jmt -- different
litt -- (E: "And that - kind of includes
every thing but the seahorses?") Yeah,
well I haven't any idea. This - to me -

I don't connect with anything (D9 + D6) .
I don't connect with the other things I
see. That's why I said it looks like
something I'd see under a microscope,
because (too soft to be heard.) (E: "So,
your're including it as part of the pic-
ture, but you're not - being specific

about exactly what it is. ") Right.

E: " You're very experienced. " (Both laugh)

TAT, SUBJECT E, PREMENSTRUUM

Card 1. 4" Um. I see this little boy as jmt receiving -- this violin. And -- I see

him daydreaming about the great future that he could have, as a
mmician -- mmician-professional. And -- all the wonderful things that this violin can
bring him. (Fame, 15") I don't see him a being about to play at all, now. (Fame)
But just dreaming, n' --y'know, what it would be like. . .to play. Do I have to end this?
("Yes, give some sort of outcome. ") (Laugh) Um -- (Fame) I don't see anything tragic
in his face, so I don't feel anything tragic. So, I would say that -- his dreams are

fulfilled, and he becomes a great violinist. And he keeps that same violin for the rest

of his life (laugh).

Total time: 1' 2"

Card 2. 2" Um.
7" The girl with the books is -- leaving - the farm. Uh, she is a part of

this -- part of the farm. This is where she was born and raised, uh, but she's leaving
this area, um, and will no longer be a part of this life style. I see the woman - on
the tree as being an older sister -— who, uh, did not get away - and stayed. And is -
caught - up in it now and can't get out. Um - (Pause, 10") can't see the man's face,
(Pause) but to me this type of scene does not - look happy. I would hate to have to
live in this kind of life-style. (Pause) Uh, the girl with the books doesn't look like
she's - upset about leaving, nor does she look like she, um -- is excited, I mean, you
can't -- read that in her face. I would say that she has just made a decision and is
going to carry it out no matter what the outcome is. And became she's made that type
of decision that - uh - her out - the outcome will be uh - good. Cause she won't let

it - get her down. She leaves and goes away (laugh) .

Total time: 2' 1"

371

372

3 BM. 15" Um, I see this as - a female.

30" She's being dramatic, and she - apparently she's upset, uh (Fame, 12")
She's just lost somebody that she loves, and - by this I don't mean death. (Fame) Um.
It happened very suddenly, and un - unexpectedly and that's why sh - I think her - her
grief seems so total here. She seems so over - overwhelmed by her grief. (Fame) Uh,
I would say that it takes her a long time to get over it -- became she is so overwhelmed.
And became it's unexpected she didn't have time to, uh, live with it for a while first.
(Fame, 12") She seems to me not to have very much, um, (Fame) - what's the word --
um - type of person - who would be affected easily. And is very emotional. Tle refore
she kinda wallows in her - self pity for awhile. (Fame, 14") She'll probably like be
that way until she's finished with it, or until she's found somebody to replace - the first

one she's lost.

Total time: 2' 29"

3GF. 3" Um (sigh)

14" (Shrugs)

17" This girl's father just caught her boyfriend climbing up (laugh) through
the window (laugh) -- to elope. And, she sent -- he sent - him away - and - her to
her room, and that's where she's going (Pause) But, all will end well become if she
really loves him, she - she'll do what she wants. (Fame) Cause - I don't get the
impression that she's very young, so I would say she's um, old enough to do what she

wants.

Total time: 1' 8"

4. 1" This one reminds of "Streetcar Named Desire," for some reason.

10" I see this woman as ming this man. Um (pause). She doesn't really
love him, or care for him, but she's keeping him around became it's convenient, she
doesn't have anybody else in her life right now. Ah, he's starting to realize this and -

tries - to get away from her but can't. And will be used by her until she finds somebody

new, and then just dumps him.

Total time: 48"

373

5. 16" Um.

19" This woman reminds me of the type of mother who checks on her kids all
the time. By the look on her face it looks like she expects them to be doing something
wrong. And she just wants to make sure that she see it if they are. So I see her as - o -
kind of opening up the door quietly, and checking - to see - if - what's going on in the
living room, or wherever, meets with her approval, and I see her as checking up on -
young kids. (Fame) And, uh, by the look on her face I think she's going to yell even
if they're not doing anything. -- And she'll yell and they'll listen, and then they'll -

start doing whatever they're doing as soon as leaves, again.

Total time: 1' 7"

6GF. 8" Um, I see this woman as telling this man -- well, jmt get lost. She looks
like she - is offended by him. And would like for him to get out of her life. But he
looks like the type that is persistent. (Pause, 11") So he'll probably - hang around
until - he gets tired. But I don't see her as uh--um, being more accepting of him -

later - than she is now.

Total time: 1'7"

7GF. 11" I see the woman with the book as some kind of mother figure. Um -- by
that I mean she's either a nurse or the mother, the actual mother. And I see the - as
the mother's reading to her I see the little girl is just kind of - (sigh) - um (pause) day-
dreaming about (pause) what is being read - to her - in the book, and it's probably
some - romantic type fairy tale, and she's fantasizing - herself in that role. (Fame)
This is a very homey scene. (Fame) Um, but I'm sure the little girl will grow up to be

- a mother, too. And read the some stories to her little girl.

Total time: 1' 23"

374

8GF. 6" Um, I see this woman (pause) as - someone who has not had a very - easy
life. (Fame, 13") Who is just more or less -- thinking about - how different her life -
could have been if she would have done different things. I don't think she's the type
that would like - say that she was unlucky. But, I think she accepts - what she is in

her situation, but wonders if she could have altered it in any way. And I don't see her
as the type that does this often, and always lives in her daydreams, but this would just be
like, um, just -- catch her at a moment -- when she did. Something - reminded her,

or set her off on this daydream. But she will - go back to her - same lifestyle, and

not live in her dreams.

Total time: t' 23"

9GF. 12" Um (holds card closer to face).

21 " I see the woman in the foreground as -- happening on something that she

shouldn't 've. And - I don't know if she's a maid , or - a friend or what.

(Pause 11") Uh, the woman - in the background - doesn't look very happy and so that
other woman is viewing is one that - could be -- uh - med against - the other woman.
(Fame 30") I'm trying to decide if she uses it or not. I don't think she does. I don't
think she'd use - what she's seen. Against the other woman. (Pause) Um. (Fame) and
I think if she could turn - and leave, uh, without being noticed - that she would just

as soon that - do that - as stand there and watch.

Total time: 2'

10. 14" I see the two as being an older couple. And -- I see them - sort of like
reflecting on - on what they've had together. And being very grateful for that. And
Just being more or less very content - with their situation and where they are - where

they're at now. (Fame, 17") That's all.

Total time: 56"

(At this point , further instructions are given for cards 11-20.)

375

11. 5" Um.

11" I see a man fleeing over the bridge. And I see the - people at the pla -
plateau, right before the bridge,as going after him, Um -- I see it as

an earthly event — adventure, rather than n - outer space - like in the depths of the earth,
or something. And - um -- the monster - all sorts of things - but I see the man as going
- over the bridge to get away from the other people. Probably became they're -
troglodites or something, whatever live down there. (E: "They're what?") troglodites,
it's the name of a song now (laughs) and, uh -- he's fleeing for his life. And he'll
probably stumble onto the magic pathway that leads him out of there. (Pause) And just

as he gets over the bridge it collapses and all the people fall in, and he gets away free.

They die (laugh).

Total time: 1'24"

12F. 22" I see the - older person, the older woman, as using -- that's a male? I
would say it's a female (very softly, to herself) - from the um, um, having some kind of
influence on him that is not -- natural. By natural I mean it would have to be super-
natural. But something that - he does not have any control over. And she mes this -
for her own gains, rather than to help him. So I guess I see her as some kind of witch.
(Pause 15") And the only way for him to get rid of her is to - to kill her or kill himself.
-- And -- I would say that he would kill himself, rather than her. (Pause) So that's

what he does .

Total time: t' 30"

I3MF. 19" Uh, the man has just come in and found the woman dead. -- Uh, she's
killed herself. (Pause) ‘And he's - grief stricken. (Pause, 18") But for some strange

reason - she killed herself with a gun - and for some strange reason when he reports it
to the police, he's convicted of the murder. --And he ends up dying became she

killed herself. (Laugh) I don't know what to do with them (laugh).

Total time: t' to"

376

14. 20" I see this - as a dream. A recurring dream, that somebody who is - deeply

emotionally disturbed has. And - to him, it symbolizes reaching a state -
which he can cope - with what's happening to him. And - he sees - the - the opening
and the - light as being - sort of a portal that he must pass through from where he is now.
In - to something that he knows should be there, and is there for most people. I think
more like - you know - he - he dreams this - he knows that - um - he isn't as well as he
could be - emotionally. Uh, he has - he doesn't - isn't able to rectify it himself - in
any real short period of time. So I see it as kind of an ideal goal. --Something to

strive f -- And he - he goes through the magic door (laugh).

Total time: 1' 36"

15 . 1' 22" I would say that this (sigh) man. . .(Fame, 10") is so obsessed - with death
-- so afraid of it, this - would be - a nightmare for him. And he would -
envision himself in the cemetary. Looks to me as if his hands are - cuffed or somehow -
tied together and his feet - are bound. Just by the posture of his body. (Pause) And -
to me - this would have to - seem to be his - ultimate fear. Um -— being in a land - of

dead rather than - alive. And not being able to get loose and escape. (Fame, 17")

Total time: 2' 40"

(Further instructions given for card #16.)

16 . 15" I see groups of people (gestures). --Uh, connected - to - like - big,
spoked wheels. And - because they are connected they must travel

- together, they must go on the same directions, but yet, they can't -- really break

loose or get close. So I see them as going just kind of around, and around -- but yet

with no reason. (Pause, 15")

Total time: 1' '12"

377

17 GF. 26" I see - the person on the bridge as a girl. And she is -- from - the area,

the dock area . -- And, to me, she seems to be contemplating whether -
it would be worth it to keep on going or to -- to live where she's living now, or try to -
break out of it, or just -- forget the whole thing. Uh, and I don't see her as - like
committing suicide when I say - forget the whole thing, just - resign herself to the fact
that - uh, this is the life she has to lead. (Fame, 15") I don't get any negative feel-
ings at all, when I look. Um -- I would say that she's fairly - content - with her life.
(Pause) And, will probably not change it. (Pause) So she could be just more or less -
looking at - at what's - around her, rather than jmt staring into the water. (Fame) 1

think she'll walk across the bridge and go to the fish market, and then go home and

make dinner.

Total time: 2' 10"

18 GF. 16" Um.
22" I see the person - being held (pause), as - being dead. And I see the
woman as - not regretting the death. Uh, the look on her face seems to
-- uh, be sorrow, but yet an acceptance. So then, I would say the person that she's

holding, could be someone that she has expected to die, it could be - an older aunt, a

mother. . .(Pame, 26") Buries 'em (laugh).

Total time: 1' 23"

19. 50" Um, I would say that this is a - if you could go to the North Pole and

find Santa Clam' home, this is what it would look like (laugh). (Fame, 15")
I don't know why. (Fame, 36") Somebody could be lost - lost in the Arctic and come
upon this home and see this great huge bat protecting it (laugh). (Fame, 38") You know,
probably the reason why I'm not having any - luck in making up a story is there's no
people in it. Or things I can identify as people. (Pause, 16") Mm. Do I have to
make one up? (E: "Well, do you feel like you can't come up with anything?") No,
other than - stumbling upon the home in the Arctic and having a big bat protect it and
can 't get to it and you freeze to death (laugh).
Total time: 3' 14"
(E; " On Friday afternoons, we take any story. ")

378

20. 45" I see this man as just -- walking with his hands shoved in his pockets,
kinda looking down and not - ever bothering to look up. Um - he misses
a lot that's going around 'im - on around 'im. And became of this he's not very happy.
--He seems to be - unhappy with his fate, but yet he won't bother to do mything about
it. Become he won't bother to be aware of what's going on. So he just lives his life

as he is now. And never makes any changes, and never gets any happier.

Total time: 1' 34"

A 7H

33"

A 4"

RORSCHACH, SUBJECT F, INTERMENSTRUUM

Card I
What if you don't see anything?
(E: "Just kind of look at it
until you do. Anything that it
might remind you of. ")
It kinda reminds me of an air-
plane.
Um.
That's all I see.
(Laugh)
(E: "OK, fine. ")

Total time: 55"

Card II
That reminds me of the heart.
You know, the four chambers,
n' - and the red, too.
(Hands back card.)
(E: "Why don't you hang onto
it a little longer, and, you know,
see if you can see any more there.
Really take your time with.it7- ")
All right.
(Laughs)
(47" pause)
Guess I can't.

(E: "OK, fine. ")

Total time: 1' 5"
379

(EQ) The wings (D8). It's like you're
looking up at it and this (D3 extended
to top of blot) would be the body of it.
(Outline of airplane excludes lower
half of blot on both sides of D3, cutting
laterally across blot to join D3 and DB,
and including the upper lateral half of
the blot.) Could be a bird, too. (EQ)
These look like wings. (EQ) Jmt the
way they're shaped.

(EQ) These four chambers (D2 and
D3) they're far apart, but that's the
heart. Red color, four parts.

A 16"

1'10"

380

Card III
Now that, this reminds me of
a bow tie, here, and this would
be a neck, and possibly, the
ears, and just the bottom of the
jaw here. (20" pause) The

colors really help.

Total time: 53 "

Card IV
(Studies card, shakes head, squints
of card, raises eyebrows slightly.)
Oh, I guess it kindalooks like um
a pair of boots or a pair of shoes,
um, kind of on display in a store
or something. This looks like a

rack. Or a stand.

Total time: 1' 25"

(EQ) Well, there's the bow tie (D3),
and the neck (includes necks of two
human figures as end points of neck,
the rest would be imagined in the
white space between), this would be
part of the jaw (D6, again as if ex-
tended across white space and joined),
the ears here (02). (EQ) Well,
everything didn't look the same, you
know. This seemed to stand out more,
that's the first thing I think I foamed
my eyes on (D3). (EQ) The shape,
not so much the color, but that's what
drew my attention to it first. (EQ)
Well, I started thinking, a bow tie is
mually seen around the neck (laughs).
And that's what it looked like (laughs).
And then, you know, I just started
thinking of the rest of - a person, and

things just seemed to fit in.

Oh, I remember this one. (EQ) It
was a boat or a shoe. . .I didn't really

know what this was at all (laugh) um,

 

really had to use some imagination,
um, it just reminded me of, well

here are the boots (D6) , and somehow
they're attached to a rack. This is
the bottom part of the rack (D 1) .
And here are the arms (D4). (EQ)
The boats here, they looked like boots.

381

Card V
A 14" Kind of reminds me of, um, this --
I guess they're called fox stoles
that my grandmother med to wear?
Um, these things here are kinda
like the heads that clip onto the,

urn, stole.

Total time: 1' 5"

Card VI
A (Appears to study card carefully.)

1'25" Well this one reminds me of, mm

ah, dissecting a frog in high school.

How we had to stretch out the arms,
out the skin, and stretch that out,

and pin it.

Total time: 1' 47"
Card Vll
A (Again studies card without any move
toward turning.)
1'13" Well, this jmt looks like two rabbits

sitting on something .

Total time: 1' 25"

(EQ) My grandmother's stole (W ex-
cluding D6 and D9.) (EQ) Oh, these
little things here reminded me of the
heads (D10) that, uhm, uhm, that you
attach to the other side of the stale.
(EQ) Well, the middle part, this part
here (W excluding D6, D9 and D10)

was long, and looked almost furry. I
don't know why, it jmt did. (EQ)
Maybe just the lines of it, how it wasn't
anything too severe. It looked kind of -
how it's kind of contoured. (EQ) I
don't think so, no. (No T) (EQ) The

heads, and that was it.

(EQ) My dissected frog ( W excluding
D3). (EQ) Well these things (D9)
looked like - arms. Uh, and the way
these things come to points (Dd25)

just kinda reminded me of - when I
dissected a frog. And this would be
(D4) like stretching the skin out.

(EQ) No - jmt the outline.

(EQ) Two rabbits (D2). (EQ) The ears
(D5) and the tails (Dd21) (Laugh) (EQ -
what they're sitting on) No, I (pause)
could be a rock or a log. It doesn't
look like grass, or anything like that.
(Original percept only included D2.)

382

Card VIII
A (At 40" nods head slightly as if in
affirmation. Studies card)
1' 5" This looks like something that should
be a state flag. (Laughs) The
middle looks like a tree, ah, and

on either side are twa bears.

Total time: 1' 25"

Card IX
A (Studies, looking slightly puzzled.)
1' 54"It looks like a fly, and he's on a
strawberry, or some sort of - fruit,

that's red .

Total time: 2' 11"

(EQ) Yeh, it's a state flag (laughs). This
is the tree (entire midline plus D8), uhm,
and these are the bears (DI). (EQ - D2
not part of percept) (EQ) I think the bears
- I think that's what I recognized first.
(EQ) Well, they've got four legs. (Laughs)
Uhm - I think just the shape of their body,
too. . .And then I started thinking about
where bears live. And I came up with
forest, and I thought about trees, and. . .
also the colors, too. (EQ) The shape,
kind of comes up in a point - maybe it's a
pine tree or something, I don't know. (EQ)
I think I thought of the colors first.

This is the fly. Here are the wings (D3)
and the body (D58) and, uhm, he's on a
strawberry, or something. Some sort of

red fruit. And this would be the fruit (D6),
and uhm, the wings and his head (D1).

The colors really helped here, too.

(EQ - colors most important?) Yes.

(EQ) I think these shapes right here

(D7). They made me think of - wings.

A 23"

383

Card X
Well, part of it looks like
flowers, the yellow part
does, and then, the middle
part -- looks like the anatomy
of the respiratory system (laughs)
the trachea, and the lungs on

either side.

Total time: 50"

Total time for 10 cards: 14'

These were the flowers (D15) here.
Kind of look like rosebuds, I think.
(EQ) Well, the petals - are all closed
up, and this (brown Dd on D15) would
be the bottom part of the flower. (EQ
- no color determinant) (EQ) The
trachea (D14) and (EQ) I think it was
the shape right here (D 14) . It was jmt

so long and. . .and how these things were

attached to it (D9). And also the color
of these shapes (D9). (EQ) No, I
think the color. (EQ) And how
they're both kind of symmetrical, and

on either side of the trachea.

TAT, SUBJECT F, INTERMENSTRUUM
Card 1. 3" Can I take as much time as I'd like? (E: "Yes.")
18" (Sigh) This kinda looks like he's almost asleep. Uhm (1' 4 " pause)

he's probably thinking, 'I wish I had a little more imagination.‘ (1' 5"
pause) (E: "Jmt say whatever comes into your mind as you look at the picture. ") Well,
I just can't figure out what he's looking at. _(E: "What are some of the things that you
think of, anyway, that it could be. ") Well, the first thing I thought of was a book, but,
I don't know, it doesn't look like a book. Uhm (12" pause) It looks like it's raised, or
something. Uh (45" pause) Could be that. he's studying. Or maybe looking at pictures,
or something, I don't know. . .Hm. (Fame, 35") Looks like a strap - or something
(Pause, 58") Ga' I jmt can't think of anything. (E: "All right, do you want to just
make something up, or do you want to go on to the next one?") Go on to the next one.

(E: "OK, maybe that'll be a little more fruitful for you - more suggestive. ")

Total time: 6' 58"

Card 2. 35" (Slowly and hesitatingly) Well, this girl, she's going off to school, or
something, and, uh, she lives on a farm, and her father, um, is working,
he's plowing or something. Jmt reminds me of a typical day (laugh). (E: "OK, can
you make up kind of a story about it?") Mm. . .The girl doesn't look too happyy: mm. . .
She. . .she's - might be thinking that she doesn't want to go to school today, she's trying
to figure out a way to get out of it. Mm. (Pause, 58") (E: "You look like you're
thinking a lot of things, but you're not saying it out loud. ") Yeah, I'm jmt trying
to think of something. Mm. I'm trying to think of some way that she can. . .uhm. . .get
rid of that expression on her face. Mm. . .Maybe her mother said she's gonna let her stay
home today. That's her brother, over here. (Points) (E: "How's it going to turn out?")
Hm. I don't know. (laughs) I think' her mother'll make her go to school. (E: "How
will she feel about that?") I think she kinda knew it all along. (E: "OK, good'. You're

warming up'. ")

Total time: 5' 5"

384

385

3 BM. 23“ Well, this guy, reminds me of, uhm myself, when my Mom and Dad were
making, me eat everything on my plate. Uhm. Uhm. Not too many foods -
like taste good to him, and he has to take a little bit of everything. Uhm. (Pause, 25")
And so his parents make him eat everything on his plate, well, not everything, but the
meat, and the milk, and the vegetable, uhm. This doesn't taste good to him. (E: "How

does he feel?") Feels like he's gonna throw up. (Laughs) So, he just goes to his room,

and cries. (E: "OK, good.")

Total time: 3' 30"

3 GF. 58" Mm. mm. This girl looks like - something really tragic happened to her.
She's crying. Maybe there was a death in the family or something. Mm.
She's thinking how much she'll miss them. Mm. (Pause, 1' 9") And, she's thinking how
- this member of the family jmt didn't look right - in the casket. Just didn't look like
himself. (E: "How will it turn out?") (Sigh) Mm. Oh, she'll be sad for awhile. . .Mm.

Over. . .over a period of time, she'll - kinda go on living. N' she'll be happy.

(E: "OK, good. ")

Total time: 5' 48"

4. 8" (Laugh) This reminds me of an old movie. Mm. (Fame, 13") Well,

it looks like she's, uhm. Looks like he's going someplace - or maybe
trying to get away from her. Uh. And she's trying to stop him. Mm. (Fame, 60")
I'm trying to think of where - he might be going. Uhm. (Pause, 24") I think maybe
they had an argument, and he's just leaving to get out of the home for awhile. (Fame,
15") (E: "How are they feeling?") Well, she doesn't want him to go. . .But he, just
feels the need to get some fresh air. Mm. (Pause, 47"). Or it could be that he's just
kind of disgmted with himself, and, she's just. . .Mm. She's. . .oh, maybe trying to
cheer him up or give him - give him a little bit of self-confidence. (Fame, 27") (E;

"How d°5 If TU”) 001?") Mm. Uhm. (Pause, 35") I think she'll be able to help him. . .
But I always like stories with good ends. (Laugh) (E: "OK")

Total time: 5' 35"

386

5. 15" Mm. She looks like she's - peeking - at something. Uhm. Maybe she

has guests or something, and, they're eating dinner, and. . .and she's just
wondering when to bring on the next course - soup. Uh. It's about all I can think of.
(E: "How does it turn out?") (Pause, 45") Oh, uhm, she's - she brings out dessert,

or some - something - dessert. Uhm. . .And some of the guests like the dinner and some
of 'em didn't.

Total time: 2' 25"

6 GF. 2" It's another old movie. (Laugh) The lady looks like she has a startled

expression on her face. The man, I think tried to startle her - startle her.

Uhm. (Pause, 50") But I don't think he really startled her, 'came she could smell his
pipe. (Fame, 1'47") Well, he's not trying to startle her at all. Uhm, he's just asking
her for a light, and she said, that she didn't have a match -- or a lighter. (E: "OK ")

Total time: 3' 25"

7 GF. 32" Uhm, the mother is reading a story to her little girl - and the little girl
doesn't seem too interested. Uhm, she wants to go outside and play.

(Pause, 12") And pretty soon the mother sees she isn't really interested in the story

either, so she lets her go outside and play.

Total time: 2' 25"

8 GF. 8" Hmmm, it looks like she's daydreaming or something. Ahn, (Fame, 20")
She's (sigh) thinking about uhm, (Fame, 13") She's probably thinking about
the last date she had. And, what a nice time she had on it. Uhm, they went, out in the

country - for a ride, and it's - a beautiful day, and - she's hoping he'll call again - and

he will. (E: "Good")

Total time: 1' 33"

387

9 GF. 15" Uhm, this somehow reminds me of those Nancy Drew mysteries. Um. This
is Nancy Drew, she's hiding in a tree, uhm. . .see. . .This girl is running
away from -something. Uhm (Pause,23") She's running, uhm. . .away from. . .some. . .man
that's trying to. . .trying to harm her in some way. . .not kill her. . .And Nancy Drew's
wondering what she can do to help the girl. Uhm. (Pause, 37") So when the man runs -
under the tree, Nancy Drew'll jump out of the tree, and, try to stop the man. But she -

of course that doesn't work, 'came the man's stronger than she is, and she ends up

hurting herself. (E: "OK")

Total time: 2' 55"

10. 8" Ah, these two people look like they're in love, oh, they look very content.
. .Mm. . .(Pause 25") So, they probably jmt had a very nice evening, dancing. . .(At this
point the tape becomes inaudible. What follows, the rest of card 10-20, is reconstructed
from the examiner's notes during the testing.) And, oh, when they're finished dancing,

they come home and, mm, go to bed.
Total time: 1' 20”
At this point, further instructions are given for cards 11 - 20

11. Is this the right way to look at it? (E: "Yes. ")
33" Well, these look like giant insects, and, uhm, this is the last man on

earth, and, oh, they've eaten all the other people -- these giant insects

have - and they're - they're waiting to eat him, and - they do.

Total time: 2' 58"

12 F. 10" The old woman looks like a witch. (long pause) Uhm, well, this is - he's
thinking of killing his stepfather - like Hamlet, and he'll inherit all his

riches and everything, and the witch knows that he's going to die and he does kill his

stepfather, and he does die - of somthing really freaky, like a bee sting. Something

really common .

Total time: 7' 5"

388

13 MF. 30" This woman was killed by some maniac - or someone - like the Boston
strangler. This guy is her husband (points.) And he's really, he. . .
(long pause) Or maybe a germ. . .from another planet - like the astronauts brought back

a germ from the Moon or something, and that's what she died of.

Total time: 3' 13"

14. 23" Well, this looks like the stock market crash, when people were jumping
out of windows and everything. And he just lost all his money, and he
feels there's nothing left to live for, so he's thinking of jumping out of the window - 'n

he does. (long pause) Or maybe - maybe he's just looking up at the stars.

Total time: 3' 14"

15. 31" He's going to the graveyard to dig up a body, and the body is someone
who's - like who's a vampire became the way they were killed. So he's

going to dig up the body and drive a stake through his heart to kill the vampire.

Total time: 1' 53"

(Further instructions given for card # 16)
16. 24" There's a lot of snow, and a skating rink and the people are all skating
around and there's a bridge over here on the right - it's a river, a frozen
river, not a skating rink, and the people are walking over the bridge and looking down
on the skaters and people are really happy. Everyone's just happy and full of the

Christmas spirit -- it's Christmastime, and they're all just having a good time and have

the Christmas spirit.

Total time: 2' 52"

389

17 GF. 33" There's a girl on the bridge and these people down here - they look like

refugees. (long pause) They're refugees and she's a refugee, or she's
trying to help them. (long pause) Or maybe they're trying to get into the country

illegally - she - she's - she's helping them.

Total time: 3' 25"

18 GF. 19" Looks like she's trying to choke someone - uh - let's see - she's - she's

choking her became this lady was trying to blackmail her. And let's
see - uhm - She's blackmailing the lady because she wants money from the lady and if
the lady doesn't give her the money - then she'll tell her hmband that she had an affair
with another man. (Fame) So the lady does kill her, but it doesn't do any good,
became her hmband finds out about the affair anyway.

Total time: 3' 45"

19. 20" Looks like a little cabin out in the wilderness. There's a terrible snow-
storm out and the cabin '5 covered with snow. And this mountain in the
background - they're afraid there might be an avalanche, so they all have to be real

quiet and tiptoe around. And there's no avalanche.

Total time: t' 15"

20. 53" Is this the way it goes? Can't tell what it is (long pause). Looks like

a man wearing a hat. (Fame) Guess he's in the forest. (Fame) He's

lost in the forest - he's jmt lost. . .

Total time: 3' 5"

RORSCHACH, SUBJECT F, PREMENSTRUUM

Card I
/\ 8" Um, this looks like a fly. (EQ) Um, uh, I said -- a fly. (EQ)
WI”) '15 wings outstretched. Uh, the fly - the body of the fly's right
(Pause, 16") here (D4). Here are the wings (D2).
I 0'59 see the b°dY or a This - didn't have anything to do with
woman in the middle of - of if (D8) . (EQ) This .. these shapes.
the, ”m: ink 510*- . ~WIII‘ Um, I also saw - (EQ) The color,
her back - facing me- black. (EQ) Hm. I think maybe the
blackness (more important than shape.)
Total time: II 19" Um. An' then I said the - body ofa -
a woman. Whose back was facing me.
An'--like - this would be - her feet
(Dd3I), her legs (D3), her buttocks
(middle of D4), and - after that (laugh) .
That's it (laugh). Part of a woman
(laugh). Um, mostly it was just the
shape. (EQ) Mm. No, just that and
the symmetry.
Card 11
A Mm. Mm. I think I - I said -- blood on this
53" The first thing I thought of was one. And that was the red. (EQ) Yeah,
blood. Mm. mm, hm (D2 and D3). And again I
1'50" Mmmm. think I said the heart on this one (laugh).
This looks like -- this red space Uh - (EQ - further determinants, blood).
here - um, mm, looks like a heart Just the color. (EQ) This was down
to me. And -- um -- here (heart, D3). Um. And then I
2' 25" The black shapes, um -- w - remind said -- the - the lungs (D1), - and
me of the anatomy of the respiratory uh, trachea (D4). (EQ - determinants,
system, uhm, the lungs and the - heart.) Uh, mostly the shape. (EQ)
trachea. Uh, no. (EQ - determinants, lungs

390

A

4611
53"

391

Total time: 2' 41"

Card Ill
Urn.
This -- is a picture of two
women facing each other,
kind of bending over. Um. . .
They're leaning on something.
(Pause, 21")
Mm. I also remember the -
I mean the last time I remember
this was a -- um, a bow tie --
um, and the neck of a man --
and his ears.

And his jawline.

Total time: 1' 55"

and trachea) Um -- the shape, and then
again I just kinda correlated heart with
--um - with its function with the, uh,
respiratory - system. (EQ) No, huh
uh.

(EQ) Mm hm. Uh, here are the two
ladies (D1). Uh, right here. Uh, they've
got - - high heeled shoes on. And, these
are their legs. And they're wearing a
skirt. Um - they're leaning - they're
bending over, and leaning on - whatev -
I don't know - something. Um, this is
their head . Their nose. It was mostly
the shape. Um, I also said, oh, the
bow tie. I remembered that from last
time. So that was the first thing I
thought of, too, when I saw it (D3).

Uh, (EQ) Um - the shape. (EQ) No.

I think that's all I - is that all I saw?

(E: "You did mention one other thing,
um, do you remember it?") Uhm - huh-
-I think - was this the one about sunset?
(E: "No, that's the next one. Um, a
man with a jawline and ear. ") Oh.
Yeah, here's the jawline (D6 define

end points of jawline on either side,

rest is imagined across white space
between them.) that goes with the -

man with a bow tie. Um. Here are
the ears (D2) . Kinda funny - lookin'
ears (laugh). (EQ) Um -- well, I

A

A

392

Card IV
37" Mm, I still see a pair of boots
on this one. And they're
hanging on the same stand.
Um.
1' 34"ln a way it reminds me of down.

And sunset.

Total time: 1' 40"

Card V
37” To me this just - this looks like
the claws of a lobster.
(Pause, 18")
And I remember last time
thinking it was my grandmother's

- fur stole.

Total time: 1'37'l

think the position that the bow tie was
in, um -- and -- the idea of - you
know, just the idea of a - bow tie

being around a neck. And then. Um --
going - up from there (laugh) - the

jawline. An'. . .

Yeah, the, urn - yeah, these were the
boots (D6) . (EQ) Oh, the shape. And
they're on a - a stand. (EQ) Right
here. An' - like this. (EQ) No, hm
mm (stand is rest of blot excluding D3).
Onnn - the sunset - sunrise thing -- ah,
was just looking at the boots and - I
just noticed -- how they're, um - how
one side is more shaded than the other,
and - it just made me think of day and
night. And, like - um - where the
lines meet, where the color changes --
it just kind of reminded me of like -
when day turns to night, and night

turns to day.

Mm. Uhm (sighz) .. These were - the
lobster claws (D4), um, let's see.
They're right - here. Here's another
one. And, uh, that was the shape.
Also - my grandmother's - (EQ: "Are
D6 and D9 included?") No, hm mm.
Uhm, also my mother's - grandmother's

fur stole. An' again it was the shape.

Not - not including these things

A

Card VI
I'ZIH’Um, part of this looks like --
oh, um, (sigh) the mmtache
on a catfish.
2'40" See a totem pole, too.
3'25" Um, also reminds me of, uh,
paper dolls that you can cut

out, in a string.

Total time: 3' 42"

393

(D6 and D9) . (E: "With the lobster
claws, do you think of them as the
lobster claws that you eat, or lobster
claws that are like on a lobster? Would
they be cooked or - not cooked?")
(Both laugh). Um, not cooked. (EQ)
Mm hm. (EQ - further determinants,

stole) No, hm mm.

Mm. Umm -- the paper dolls. That -
is kinda upside down (laugh). (V) Um -
these'd be the arms (D9). Um -- and --
the head (lower halves of blot below
D9) and the skirt (between D9 and
bottom of D8), the legs (Dd25), um,
the legs (Dd3I), this is really - like
only part of a doll (D4 and Dd31).
And this is another part of a doll (other
half) . Um. . .That was the shape - on
that. Um. . .oh, I also said -- the
mmtache on a catfish (laugh). Um--
I think - this was what I was looking
at (laugh), just this little bit up here
(Dd26) . Um -- and just - these -
fingers like - kinda reminded me of —
of - how ugly catfish are (laygh) . Ugh
(laugh). Let's see - I think that was
all on that. Oh, I - the totem pole.
Um - that was - this part - of it (D8).
And, um -- I think what reminded
me of that was - this part, um I don't

know exactly what you'd call it, urn

394

Card V II

A 47" Uh, I see some snow capped
mountains.
(Pause, 49")
Mm. (Pause, 15") Let's see.
Two - vertebrae, in your sk - or
- spinal cord, and. . .
And I - I still see the bunnies

sitting on top of something.

Total time: 2' 25"

-- the wings kinda like that you see on
- on those - things? Um, mostly it

was the shape. Oh, and the shading -
in these (D6) - wings. (EQ) The shape.

Mm. Uhmm -- the bunnies, ah, two
of 'em. These are the - ears (D5).

And the - face (D1 except D5), the
body (D3 except Dd21) and the tail
(Dd21) . An' they're sitting on some-
thing. (E: "Is the something they're
sitting on really - anything in particu-
Iar?") No, no (laugh). (EQ) No.
Um, let's see. Um -- these were 5-
snow capped mountains. These little
parts in here (D8, Dd24). An', I guess
mostly what reminded me of it was, um,
the shading, not so much the shape at all.
Um--(EQ) Really faraway. They're
really small. Hm (sigh). Is that all I
saw in this one? (E: "One more. ")
One more (laugh). Oh, now I remem-
ber (laugh) Um. . . um, the spinal card,
the - two vertebrae in the spinal cord.
Now that - um - that was mostly the
shape. This is kinda like - well the
white part is actually the srpinal cord
(Ds7). Cause it's just - forms the
outline. (EQ) Right here. In here.
(EQ) You're looking at it (laugh),
straight on. (EQ) Yeah, uh, huh.

You're not looking down at it. (EQ)

A

1'41"

395

Card Vlll
(Turns head very slightly from
side to side to look at card.)
Um. .
I remember this was a state flag.
With the bears - on either side -
and a tree in the middle.
(Fame, 1' 49")
I also see two ghosts (Pause, 15")
An', uhm -- the ghosts are - in
the sky with -- uh -- clouds all

around them .

(Pause, 42") I also see some flames.

(Pause, 21") And. . .Hm. . .
(Fame, 23") And a head with -

horns on it .

Total time: 5' 53"

Mm hm. (EQ - further determinants)
No, huh uh.

(EQ) Yeah, this was a state flag. Um,
the bears - two bears (D1). Um, and a
tree in the middle (D4). Mostly it was
just the shape - that - reminded me, but -
the color helped. Um -- in the blue
part, bluish part (D5) - was - the sky,
with the clouds in it. And the two

ghosts were - right here (Dd of D5). I
think what - made me think of ghosts,
were - the two eyes, kinda like -

stickin' out (two dark dots in each half

of D5, jmt below D3). (E: "Now,

the sky and the clouds, is that part of

the state flag or, is that not?") No,

no. Not, not that's not part of the

state flag (laugh). (E: "So when you
were looking at the state flag, is this
included at all (D5), but it's jmt not
defined, or is it not part of it?") Um,
it's included, but not defined. (E:
"And this part down here,is that in-
cluded [D21?") No, that's not includ-
ed. (EQ - sky determinants) I think
mostly the color. Um -- (EQ - any-
thing besides the color?) No. (EQ)
These things. (E: "Was there any-
thing besides the eyes on those that
reminded you of ghosts?") Um -- I -

I think it was -- um -the idea of --

A 21"

396

Card IX
(Sigh) This looks like a monster
from outer space. (Fame, 55")
Um -- it still reminds me of
strawb - a strawberry. And, I
also see - carrots. (Fame, 40")
Also see a flagpole, going up the
middle of it. There isn't a flag

on it.

Total time: 2' 23"

um -- oh, the shape, kind of. When I
think of a ghost I think of someone with
a sheet over their head. .Um - at
Halloween - but - and that's what I
thought of, I think, first, when I saw
that (laugh). And I - did I have? I
had flames down here (D2). That was
the color. Just all sorts of flames.

(EQ - further determinants) No, huh
uh. And - in the middle here, is the
head. Right here (orange Dd in center
of D2 , on border between D6 and D7) .
And, uh - the horns - are right here .
(EQ) Um, I think - maybe - it would be
like - Satan, you know, cause it's in
the flames. (EQ) Um -- the shape.
(EQ) No. Hm mm.

And this is the monster. (EQ) Oh, yeah,
this - he's bald, kinda like (laugh), and
like he's got horns (D3) . These are 'is

- eyes (Dd523) . But he doesn't - he
doesn't look like any human at all,
since he's - he's from outer space, so
like - the shape of ' is head's different,
it comes out like that (D1). And -
(EQ) Yeah, this is, um, comparable
to our shoulders, I guess (D6) . (EQ)
Hm. Um, well the shape. I think -
like, um -- I think I was thinking

about - the other card, too, though.
Like - that had somethin' to do with

397

it. I think the last thing I said was -
um, seeing the - this - um, head with
the horns on it. Um -- but ba - mostly
the shape, and, mm, a little bit of the
color, I think. That made the parts
seem more distinctive. (EQ) Um, no.
These are 'is nostrils (Dds on either side
of D5 jmt below D58). (E: "What kind
of a monster is he?") (Laugh) He's a
really mean one'. (Laugh) (EQ - what
else you saw) Yeah, this is straw - the
top of a strawberry (D6). And, um, this
was the - the leaf - on top of its stem
(D1). Um (sigh), once I get going on
food (laugh). These were the urn -
carrots. The shape. And the color.
And again with the — the strawberry it
was mostly the color. Seeing these two
colors together, the green and the red.
Um, with the carrots it was the shape
and the color both. (EQ) Um -- I
think the color. (E looks over notes:
"Oh, one more thing. ") One more?
(Laugh) Let's see. Uh -- oh, a pole.
A flagpole. Um -- now, why did I
think of that? I guess . . . I don't
know, it was the shape, I guess.

Just the - y'know the straight line
(D5). And there wasn't a flag on

the pole .

398

Card X
A 53" And again I see, um -- part of the

respiratory system, on this, and -
yellow rosebuds. (Fame, 15")
Um, I also see some spiders.
(Fame, 28") I see a wishbone,
right in the middle--And. .two
elephants. And they're standing
on their hind legs.

Total time: 2' 20 "

Total time for 10 cards: 27' 30"
5: "That seemed to go faster than

the other time. "

Uh, (sigh), now. This again, was

part of the respiratory system. Um,

the trachea here, and that was - the
shape (D14). And the lungs (D9), again
it was the shape and the color. I think
mostly it was, um -- mostly the color, I
think. Um - these were the yellow
rosebuds (D15). And, I think -- think
it had - mostly to do with the shape.
(EQ) Partly - partly the color. Um--
these were spiders (DI) . I think what
reminded me of the spiders was - um -
just all these (gestures)- projections, kind
of like - reminded me ofall the - legs
on a spider. Um, let's see. Um, the
wishbone, right here (D3). That was
the shape. (EQ) No, hm mm. And,
let's see the elephants (D6) . There's
two of 'em. Now, um -- um - they're
standing on their hind legs. These are
their trunks. I'm looking at 'em upside
down, kinda like. Um, these are the

trunks, and - these are their hind legs.

(EQ) Mm, the shape.

After completion of inquiry, E says:
"It's interesting that you saw those
upside down but you didn't turn the
card upside down when you were

looking at it. You just - thought of it

upside down. " 5: "Yeah." (both laugh).

TAT, SUBJECT F, PREMENSTRUUM

After instructions, S says, "This is the part I hated (laugh.)"
Card 1. Oh (groaned) Um. 15" (Sigh)

50" Mm, this guy. This little boy is, um (pause) studying. Or reading. Um.
(Fame) He's getting very tired. He's been studying for a while --- and he's -- he's, um
(pause, 13") . OK, he's wondering when dinner's gonna be ready. And he's - getting
very hungry and his stomach's growling. (Fame) And (pause, 11") and he's hoping the
acid in his stomach doesn't eat it - eat his stomach up before - dinner's ready. And --

his mother jmt called 'im to the dinner table. (Fame) And now he's eating.

Total time: 2' 28"

Card 2. 17" Um ---

32" Um, the girl - in the left side of this picture, um -- wants very much to -
mm - go to school an' - mm - become a lawyer. Um. But her - parents and everyone
else, really is kind of against it. Became thati not where a girl's place sh - should be.
Uh, a girl's place is in the home. Um (pause) so, she -- um -- she --complies to her
parents'wishes and works home but - works at home, but - every now and then she'll --
somehow get ahold of a few law books. (Fame) And -- she -- she's not very happy.

Became she really feels -- as - though - uh -- she's not - fulfilling herself.

Total time: 2' 14"

3 BM. 33" Um. This is a little orphan. -- Who's - crying -- um - became -- he has

no parents. He's living - in an orphanage -- um - and - he's hoping -
that someone will adopt him. Some nice couple. But -- the older he gets. He knows
that the older he gets, um, the less chance there is -- of being adopted. (Fame, 11")
Um, and (pause) um, he ends up - living in the orphanage until -- he's legally (sigh) um,
able to leave. -- Which would be - 16? 18? (laugh) I don't know either.

Total time: t' 55"

'399

400

3 GF. 32" This is an actress, um -- practicing - a scene that she -- um - a scene that

she has in a play. --And it's a very - tragic scene. Um -- she learns that,
uh, a very (pause) very, close - friend, um (pause) has - just died. (Fame, 12") Um
(pause). She does this scene very well (pame). Became she can really - um - put herself
-- in the - character's place. Became she's gone through this before. -- One of her

close friends, um -- um - died.

Total time: 2' 25"

4. 51 " Um.
1' 9" Hm. _
1'31" Um, this woman (pause) uh, med to be this man's -- mm fiancee. And --

uh -- he broke off the engagement (pause) became, uh (pause) hmm (pause) became he
had a (sigh) oh -- oh - a terminal - a terminal disease - blood disease - and um (pause, 10").
He didn't tell - her the real reason -- why - he broke the engagement. And -- she kinda
smpects something - that he's not - telling her the real reason. And - she's trying to -
um (pause, 10") she's trying to persuade him -- to tell 'er. (Fame, 11") But, um -- he
(pause) and he does tell 'er um - that he has - a terminal disease. (Fame) Um -- and
they - do end up getting married. And - they have a very happy life. (Fame) And he

dies maybe, oh, a year - later. (Holds card and looks at it a while before returning it.)

Total time: 4' 30"

5. 1'28" This is a mother - checking on, um -- her two - small - children. Who
are playing in the living room - by themselves. Um (sigh) she jmt wants

to be sure that - they - - um - aren't - getting into anything - they aren't supposed to be

in, and -- making sure that - they're all right. --Um--They are and - she goes back to

'er kitchen and - bakes -- uhm -- homemade bread.

Total time: 2'22 "

401

6 GF. 37" Um, this...
1'23” This guy - is asking -- uh - this lady if - she has - any matches so he can

light his pipe, um (pause) She - doesn't smoke, so she doesn't have any matches for 'im.

(Fame, 10") Oh, they're at a party. So he goes to -- find a book of matches.

Total time: 2' 8"

7 GF. 13" Um, this mother - is reading her -- daughter and her - baby doll, um -- um
-- a fairy tale. (Fame) And the fairy tale is, um -- oh, let's see,

"Sleeping Beauty." Um -- and the girl - is, thinking about (pause) well's putting herself

in -- into the character of Sleeping Beauty, and um (pause) and she's thinking of - um -

her prince charming.

Total time: 1'33"

8 GF. H" Um, this lady -- is thinking about all her favorite things. -- Um (pause, 11")
(sigh) Um, she likes - sunny days (pause) uh - and she likes - to watch

storms (pause, 10") and - she likes - she likes the springtime became of the -- nice,

fresh feeling there is, and (pause) and she likes the winter, too, became of, um -- all -

the things you can do in the snow. All the snow sports. Um (pause) oh, she likes to take

walks. -- Um -- she likes dogs (pause) And (pause) she likes being alone sometimes,

and she likes being with people.

Total time: 2' l7"

9 GF. 13" Um, these two girls are sisters. And the one girl is up in a tree. She's -
she climbed up there, but now she can't get down, she's afraid she might
fall. And, her sister is - running to get help. Um -- she brings back her - father, who

has - who brings a ladder, and -- the girl gets down. All right. Safely.

Total time: 48"

402

10. 16" Oh, let's see. This (pause) this couple is (sigh) very much in love. Um --
they're - married -- and they're quite old. And - they're (pause) they're
very - happy and very thankful that - they've had so many years together (pause, 21 ") Hm.

Total time: 1' 14"

At this point, further instructions are given for cards 11 - 20.

11. 14" Um.
58" Um, let's see. There's -- a serpent in this and - an insect, an' - a giant
insect. And they're (pause) they've been - let's see, destroying - cities,
an', um, killing people. (Fame) Um (Fame, 12") Let's see an' they're (sigh) coming -
from -- just coming out of a - city that they jmt destroyed. And the - there's (pause)
rubble all around, and - the place is on fire -- and (pause) um (pause) and all the people

have - died in the city. And now they're going on to the next town. . .

Total time: 2' 47"

12 F. 22" Um.

1'5" Let's see, this guy is really a prince. Um -- and he's -- like returning to

his - home after he had been away - since he was a child. And none of

the - of the people in the ttawn know that he's the prince. And so (pause) the--um (pause)
the (pause) the queen won't - oh, the king has died, and, um--and the prince knows that
he's the rightful heir to the throne. But the queen - won't, uhm--won't believe that he is
the prince. So - to prove that he is, the queen - tells him that - he must guess, um (pause)
guess the three wishes - of - the throne. And, the - other person in the picture is--is, um
--med to be the p - the prince's, um--nursemaid, and she knows that he's really the prince.
So - and she also knows the three wishes of the throne. So - she's telling - the prince the

three wishes of the throne. And -- he in turn tells the queen, and - he takes his rightful

place on the throne.

Total time: 3' 25"

403

13 MF. 18" Um (sigh), let's see.

1'28" Uh (sigh), let's see.

1'48" This guy -- um (pause, 11") um, comes to - his girlfriend's apartment

and - sees that -- or hears that, um -- hears nothing inside the apartment,

and - he knows that she was expecting 'er - him. So he goes in, inside the apartment
and -- finds -- girlfriend --Iaying in bed, um - (pause) dead. Stabbed to death.
Strangled. (Fame) And, uh - he's (pause). He calls the police (pause) um -- and there
have been (pause) like a series of -- these kinds of murders - in the area (pause). Um --
and they still haven't caught the man - or the woman - who, um,committed the acts.
(Pause, 17") (E: "How does it turn out?") Oh, um ---Well -- um, the murderer is
caught, but not until he has - murdered - a couple more - women. And - uh (pause)
he's - um - sent - um - to prison - for life (pause, 10"). Become - the -- the death

penalty isn't - allowed in this state.

Total time: 5' 20"

14. 23" Um ---
30" Every night, um, when there's a full moon. This - man -- can look outside

of his window -- and -- um -- see -- um (pause) a UFO or - some type of
a spaceship. Um -- landing - uh, but he's the only one that sees it. And, uh - all his
neighbors - and -- all his friends won't believe 'im --became - they don't see it them-
selves. Um (pause). Well as it ends out there really is - he really does see - um, a
spaceship, became he has, oh, a special type of vision. Where the rest of us - the rest
of the humans - can't - um -- can't - perceive -- what he can perceive. And he can
pick up things that we can't pick up. --Um--so he tries to warn them that - um, these--
uh, spaceships are - are going to take over the earth. But nobody'll believe 'im. But -
um (pause) an' they all think he's really crazy (pause). So it, um--these spaceships do
end up taking over the earth (clears throat). And - all the humans are made prisoners of

- these - people from outer space.

Total time: 3' 12"

404

15. 29" Um, (sigh) let's see. This - guy (pause) um - visits the graveyard every
night. And -um (pause, 27") um (pause, 10") he digs up graves, one
grave - a night. And (pause) he uses the bodies - for an experiment that he's doing.
He's trying t' make (pause) a man. An' he mes - different parts of - of these, um -- bodies.
Puts them together, to make - his man. Um - finally gets all the parts together, and, um

-- passes on electric - current - through the body, and - the body comes t' life.

Total time: 2'26"
(S laughs as card #16 is handed to her. Further instructions are given for card #16.)

16. 7" Well, when any - whenever I see anything white like this, I always think

of snow. So (laugh), let's see. (Fame) Urn, this is - in the winter -
and -- there's (pause) a ski slope -- and -- well, there are a couple of slopes. And there's
a beginner's hill and - um - intermediate - and an expert's hill. And -- uh - people are -
going up the chairlifts and - um - the T-bars (pause) and the tow ropes. People are
coming down the hill. People are falling (pause, 12"). (E: "Now tell me a story about
it. ") Oh (laugh) (pause). And, there's -- one girl (pause) um - who's a fairly good skier -
coming down the expert slope, and - she - um, falls. And her bindings don't come loose.
So. She ends up breaking her leg. And. (Fame) She'll be in a cast - for - quite a

while. So she won't be able t' ski. Until next year. And - she's jmt heartbroken
(laugh).

Total time: 2' 37"

17 GF. 24" Mm.

2'20" Um. The men in the boat are (pause) are bringing --um (Pause, 25")

oh they're bringing, uh (pause) maybe a bunch of marijuana into the

country. And -- the -- the girl on the bridge - is waiting -- for -- a friend - who - uh,
was on the boat. And she's also watching for - any authorities --that might - have caught
on. Um (pause, 23") um--they are caught, however--um (pause, 11") became there was
a leak in their security system. One of the - guys on the boat, um (pause) um - told the
- um - police about it and - the police were there - and - put everybody in jail (pause,
10") and the girl (pause) um - saw this all happening. But there was nothing she could

do to stop it.
Total time: 5' 23"

405

18 GF 10" This lady's strangling - this other lady. Um (pause, 15"). Um, the lady
that's -- that's being strangled, um (pause, 11") um (pause, 1'3"). The
lady that's being strangled, um, is bribing - the lady that's strangling her. Um -- she’s
threatening to tell - this lady's son - that, um, mm, he's illegitimate. And - she -- in
order - to - insure her silence, this other lady is paying - her, um (pause) um $10,000 -
$20,000. And -- um -- she can't - um - raise all of the money -- so - she's - um -

strangling the lady -- so that - she won't tell her son.

Total time: 3' 15"

>A>/\>/\>/\>A> g;

I' 35" Um, this is -- um - a little home - up near - the North Pole. Um (pause).
There's snow all around it (pause) urn -- and (pause, 11") and the people who live - inside
of the home - are running out of - firewood. And if they don't go out and - find some fire-
wood - um - their fire - in their fireplace, will - soon die. And, um, the home will
become cold. And they'll freeze to death. Um (pause) so (pause) um - they - the man -
goes out to, uh, find some - wood, while the--woman -- breaks up pieces of the furniture.

The man - does - find some firewood -- and - brings it back to the - home - just in time.

Total time: 3' 50"

406

20. 26" Um.

60" This man -- is -- walking (pause) at night through - um - sleet, rain,
and snow, um (pause, 40") um, he has (clears throat) amnesia. Doesn't know his name,
or where's he's from, or anything about himself. And (sigh) um (pause). He's been like
this for - a few days. He's just been wandering around. (Fame) Um (pause, 22"). See
he (pause, 15") the town he is - in is very - strange. Um - the people (pause) never
talk to each other and - there's really no one he can turn to for help. (Fame) Uh (pame)
uh h - here's (pause, 11") um (pause, 11") there's - no way he can get out of the town,
became he's tried. He tries - walking away - but it's like he's walking in a circle and
comes right back to the town. Um (pause) there's just no way to escape it - um --Finally
he just ends up accepting - the fact that 'e's - gonna be there for the rest of his life --
and -- uh (pause, 14") um (pause) he - tries to get the people to communicate with each
other. And (pause) um (pause) uh, finally, um, he gets - everyone - everyone is able

to shake each other's hand. And, um, that's about all he can accomplish before he dies.

Total time: 5' 57"

A

18"

RORSCHACH,

Card I
It looks like it could be a bat,
you know - you know. Or
maybe it might be two men,
fighting. (points to card)

Mmmm. (Laughs) S 'a-a-all.

Total time: 53"

407

SUBJECT G , PREMENSTRUUM

(EQ) Two men fighting.(EQ) Well, I was
gonna say two men with wings, but
(mumbled) like this is their head (D7) and
a cape - Iike's - out (lateral edges of
blot) and this is where they're, like,
fighting with each other (D1) and I don't
know what this (D4) is. (E: "So it's kind
at the two halves, one man on each. half?")
Mm hm. (EQ) Well, I saw that they were
pulling away from each other, you know?
And then, down here they're maybe kickin'
each other (Dd24). It's jm' - well, what-
ever this is, you know (area between D1),
they both want it. (EQ) This profile,
right here (D7), and capes. (EQ) Well,
this looks like this could be a hat (top of
D7) . I see a lot of - guys with those hats
(laughs) like mine, with those balls on
'em. (EQ - what else you saw) No.

(E: "The first thing you saw?") What did
I say first? (E: "A bat.") A bat '.? In
this one? Oh, yeah. (EQ) Right here
(W). (EQ) I saw a bat, I don't know
(laughs), wings spread, hangin' upside
down, would be more like this (V). (EQ)
Well, this is kinda shaped like a bat's
head in here (upper portion of D4). And
they have - those tentacles, whatever

you call 'em. (EQ) No, not really.

<A< >

A

23 II

408

Card I I

(E encourages turning.)

l have no idea, jm' -blah
(laughs).

It could be a piece of sliced
meat, maybe. Not completely

done. (E: "What was that?)

Rare, cooked meat.

Total time: 50"

Card 111

9" Two people dancing. Or this

could be a person - in a mirror,
looking at himself - and he's
holding a bowling ball.

That's a butterfly in the middle.

Total time: 31"

(EQ) (Laughs and mumbles to self.) Oh
no. Yeah, looks like meat, yeah. (EQ)
Jmt two slices of meat (D1), not cooked
too well. A little red in here. (EQ)
Well, the way it's shaped before it's
cooked, you know. (EQ: Shape or redness

more important?) I think the redness.
(EQ) Nnn.

(EQ) Yeah, this was somebody - goin'
bowlin'. Well, holding a bowling ball
and looking at a reflection in the mirror.
(EQ) This, and this is the bowling ball
(D4 are balls, D1 is whole percept.)

And the butterfly in the middle (D3) .

(EQ - butterfly part of first percept ?)

It's separate. (EQ - determinants,
people.) The face (D6), I guess it's a
lady, have a bustline there (Dd27) and,
there's the shoes (D10). (EQ - what made
it look like a reflection?) Well, came
two people wouldn't be holding a bowling
ball face to face. (EQ - determinants,
butterfly.) Two little wings, just at first
glance. (EQ) Not as far as I know :- or

a bow (a few mumbled words) . (EQ - two
people dancing.) Did I say that too?
Yeah, they could be, but I wouldn't know
what this would be (D7) . (Same percept -D1) .

409

Card IV
A 7" Uh, this looks like a monster Well, this looks like a monster (EQ)
(laughs) with big feet. And a (laughs). Here's his arms, whatever you
big tail (laughs), little tiny want to call 'em (D4), feet (D6), big '01
hands - things look like. tail (D1), head (D3). (E: "What kind of
a monster is that?") I don't know. Like,

Total time: 28" I (laughs) hate to go into this, but I saw
"Night Gallery" (a TV program) one night,
and they had - this monster that - looks
just like him, like, they were from the
underworld, and they were gonna take
over the world, and all this. It jmt re-
minded me of it, at first glance. (E: "15
it more of an animal-type monster, or a
person-type monster?") It was half-
person and half-animal. Jmt really,
really deformed. (EQ) It's just a monster
- (mumbled words) well, if it didn't have
arms and legs, I probably wouldn't have
said it was a monster, but. . .(EQ) It
almost looks like it's sitting - on its
tail. Came the tail's longer than the
feet in one place. That's about all I
can add.

Card V .

A 3" Well, this is a butterfly. His (Laughs) S' a bat. (E: "You said it
wings are unfolded a little was a butterfly, before. Which does
bit, though. it look like more to you?") A butterfly,

yah. Came a butterfly has these two
Total time: '15" things (D9). This way (A) looks like
a bat. (E: "If you hold it upside down

it looks like a butterfly?") Mm hm.

A 5"

410

Card VI
This is a cat, that's been split,
right down the middle, ugh.
And someone cut off his tail,

too .

Total time: 25"

(EQ) What makes it look? (laughs) Like
a bat? Well, this way, it looks like
it's gettin' ready to take off (A) and
leave the room. And this way (V)

looks like a butterfly getting ready to
take off. Go up. (EQ) No. I guess
its wings are a little deformed (D10).

(Laughs) I said this was a cat, split in
two. (EQ) Well, his tail is missing.
(EQ) Mm hm (W) . (EQ) My cat got
ran over. (E: "Oh, dear.") (laughs)

A long time ago. He wasn't - he didn't
look like this, however. Like the - the
whiskers (D6), the hair on the face.
Reminded me of it. (EQ) Mm, jmt this
part, right here (D1). (E: "Would you
be looking down on its back, or at its
belly?") Lookin' at its belly. (EQ:

.Squished or opened up like it was

dissected?) Yeah, probably dissected.
(EQ: ”So looking at the insides of the
cat?) Mm hm. The insides are taken
out though. This is like the fur is left.
(E: "What makes it look like fur?")
(Laughs) Well, the inside - the inside
lining of the fur, became the fur would
be on this back side (indicates reverse

side of card).

A
V

A

VA)

411

Card VII

18" Mmm, let's see. (Whispered

34"

to self) (Shakes head)

This could be a baby somethin'
- a baby animal of some kind,
I don't know which. And he's
looking at a reflection of him-

self in the mirror, too.

Total time: 60"

Card Vlll
This looks like a - some kind of mountain
lion, trying to climb up a hill. Nice
pink (laughs).

Total time: 30"

I really didn't know what this was, but I
knew they were - small. (EQ) Like a baby
animal (D2). Think they are - some kind
of animals with horns. At first I thought it
might be - Cupid. But he doesn't have
one of these - things (D5). (EQ) I don't
know, small little face (DI), little tail
(Dd21). (EQ) They're probably looking
at a reflection, too, there's probably jmt
one of 'em. Could be a baby monkey, I
don't know, maybe balancing a banana

or somethin' on its head, (laughs), I

don't know (mumbled words). I don't
know what this could be (D4), just part

of the scenery, top of the tree or whatever.

This is a couple of mountain lions (D1)
trying to climb up a mountain. (EQ)
Face, long tail, two legs, looks like
he's climbin'. (EQ) Mmm That was
the only thing I saw, like, I don't know
what this was (D2 and D8). All these
colors. You know the mountain lion
wouldn't be pink (laughs). (Mumbles)
(E; "The colors make it harder?")
Yeah.

412

A Card IX

v (Laughs) This is just a design. (E: "What

A 28" This '5 1”“ 0 design (laughs) ' type of a design is it?") Well. Like you
is all this COUld be. just - drop these colors on - one piece

of paper, and then - folded it over.
Total time: 45" (E: "Well, of course, that's what it is. ")
(Laughs) (E: "But I mean, if it were a
design, were you thinking of like, um. . . ")
Abstract. (EQ) Well, it's definitely not
- you know, it's jmt there, you know?
It seems like a lot of people would sit
around and try to decide, what is this,
you know? And everybody would have
their own interpretation - whatever they
saw. Oh, like. This looks I -, oh. Oh
that looks like a, oh -- a fetm (D6)?
(EQ) Well, like it's still kinda, -- you
know. Like this might be the eye, the
head, still premature though. Here it -
(EQ) (pause) Well, all that gook around
it, like some kind of a lining. Now I'm
lookin' at this, this could be a profile
of somebody, nose, eyes (Dd31), hair
(Dd24), well his head has been - his
head's been chopped away a little bit
(Dds-29) and surrounding Dd) . (Mrmbled
words).

413

Card X
A 10" Well, this is somebody's lungs
after an accident. And this is
the throat, and - whatever you

call it - the esophagm.

Total time: 37"

Total time for ten cards: 7' 15"

Well, somebody's lungs, after an accident.
(EQ) (D9) May have been a heavy -
heavily smoking, too (laughs). (EQ)
Well, it looks kinda, all, you know,
smashed in, and stuff, and ugh, s'gooky-
Iooking. (EQ) See, in here, it's lighter.
(Smoking indicated by dark center edge
of D9). This would be the throat (DI4).
(EQ) This tube. And this other extra is
some more of the insides just - knocked
around. I don't know what this would be
(D10) though. (Laughs) You know what
this looks like, well, it couldn't be, but
the tonsils (D3). 1 don't know how they
got way down there (laughs). (EQ) I

just noticedit, I got my tonsils out. And
these two little spots. . . (EQ - what first
made you think of lungs?) Well, I saw
this first (D14), and then I said, well,
that has to be the lungs (mumbled words).
(EQ) The color. Here's some little

blood valves (D6). Oh, wow (laughs).
These little things (D7) look like - ladies?
I don't know what they're doin' - jumpin',
and their hair is just -wild '. (E: "Jump-
ing toward the outside of the picture?")
Mm hm (EQ) Well, they just look like -
the hair like - in a bouffant style is

just - long, flowing along. And it jmt
looks like (mumbled). (Hands back card.)

Wow'. Ooo'. (Laughs)

TAT, SUBJECT G, PREMENSTRUUM

Card 1. 5" (Laughs) This little boy has to practice his violin lessons, and he doesn't

want to. So he says, 'Maybe if I just sit here, the time will go by and
then I won't have to do it'. But what he doesn't know is his mother is in the other room
listening to him. And she doesn't hear anything, so she's gonna come out - in about
five seconds. (E: ”What'll happen when she comes out?") She'll ask him how come
you're not practicing? He says, well, I really don't feel like it today, Mom. So she
says, OK, you can go outside for an hour, and then come back and try it again. And
he goes out. That's what he wanted to do all - all along. He wanted to play some

baseball for a couple hours. And then come back in and practice.

Total time: 1' 4"

Card 2. 10" I don't know what this is, but. . .guess the year is about nineteen mm
nineteen hundred? This is a young girl and her mother, and the man who

works on the farm. (Laughs) Maybe she's going to school. And her mother is mad at

her. She's not saying goodbye. And the man is hard at work. Tilling the soil . For

the crops (laughs). Mm. The girl doesn't have a father, he died a couple years ago.

And both the mother and the daughter like this man. Like - he's too old for the girl

and too young for the mother. Ah, I think he likes the girl. And they finally got

married. And moved away. And left the mother.

Total time: 1' 40"

Card 3BM.8" This looks like a Vietnamese child. Mm. I can't see what this is
(peers at card). And, like it was a hand. He's crying, 'came his

mother and father just got blown up. And he doesn't know what he's gonna do, where

he's gonna go. (Fame, 12") I don't know what his end is gonna be, he (mumbled

words) . No end.

Total time: 58"

414

415

Card 3 GF. 3" Well, this looks like - Bette Davis, one of her dramatic scenes.
Her lover just told her he doesn't love her anymore. She's running -
Well, she's not running out, she's - going out slowly. Hurt. . . And she kills herself,

eventually.

Total time: 45"

Card 4. 24" This. . .well, this lady, she loves this man very much. And she's
trying to get him to stay, but he's already married, and his wife's

expecting a - child, so they've been separated, and he decided he's gonna go back

home. She's trying to persuade him to stay. But he says, he has to go. (Fame, 7")

And he leaves.

Total time: 1' 2"

Card 5. 19" This is a mother coming home from -- church on a Wednesday evening,
she goes upstairs and opens up her son's door, and, alas, there he is

with the neighbor's daughter. Wow (in an undertone). And they didn't even see her,

so she closes the door, goes back dowstairs. And waits for them to come downstairs.

(Fame, 16") Do you want to know what the ending's gonna be? (Both laugh. E: "I

can't wait. ") Well, I really don't know, let me see (softly). This is looks like an old

fashioned mother. She waits for the - well, they come down the stairs and she just waits

until the girl leaves. And then she'll shout, what are you doin' and he'll say, oh, we're

studyin', Mom. And she lets it go.

Total time: 1' 28"

Card 6GF. 6" Are these people famom? This - this man looks like Fred - Fredrick
March, I don't know who this girl would be. . .Anyway, she's the uhm
secretary and this is - he's the boss. And he's telling her she has to stay late to work.
But she has a date tonight and she doesn't want to stay, and she's trying to explain it to
him. He says either you stay or you go, and if you go - don't come back. So she leaves.

And she's out of work. (Laughs).

Total time: 40"

416

7 GF. 8" This is a mother telling her daughter - girl's about - twelve - about
menstruation. The girl can't believe it. She can't ah - she can't accept
it yet. Like, she hasn't started yet. But her mother's tryin' to - be a good mother,
explain everything to her before, you know, the neighborhood kids tell her. (Pause, 8")
Her mother's askin' her, do you have any more questions? And she's sitting there thinkin'.
well. . .That's about it. I don't know what this is in her hand (softly). It looks like a
baby, but I know it's not one. I don't have an ending. They just sit there and talk. Till

it's time to fix dinner. (laughs).

Total time: l' 20"

8 GF. 8" This lady's in deep thought. I think because her husband or her boyfriend
or whatever, is probably over in Vietnam. (Mumbled) This isn't our time.
World War ll? Well, her husband or boyfriend's gone to the war and she's lonely. Mm.

(Pause, 13") There's no ending to this, either - lonely, waiting.

Total time: 46"

9 GF. 15" Mm. What is this (softly, to herself)? This looks like a tropical island. . .
Yeah, a tropical island, their, um, ship -- sank, and they got off at this
tropical island, and now they see another boat coming, and they're going to run out to
the water. And they're gonna be saved. This is just two among many, there's a lotta
other people there. Mm. She has a book in her hand. And she's running off in here -

wave down the boat. And they'll be saved. (Laughs).

Total time: 60"

TO. 12" Mm. This is the lady in the earlier picture - her husband has come home.
Late one night. She was sleeping, she heard a knock on the door, and

it was her husband. Oh. And they lived happily ever after. (E: "What did you say,

this was the lady from what? From the other picture?") Yeah, the one that was waiting

for her husband to come back from the war? I guess he didn't take too long. (both laugh).

Total time: 44"

4l7

At this point further instructions are given for cards ll - 20

ll. Is this the way it goes? (Laughs)
13" This is in a - deep, deep dark cave, wow. I don't know what that is
(softly to herself) . This is a monster. This a valley of the monsters, ah,
not too many people go through here. Mm. And here are some steps leading to - steps
going up to hell. This way below, below,below hell. The underworld. (Pause l2")
(Laughs).

Total time: l' 9"

l2 F. 3" I've seen this somewhere. This is a picture of a lady, young and old.
This is how she - oh -- she's thinking - of how she'll look when she gets
old. And actually, this lady behind her, is her. I would say about - thirty, forty years
from now. Mm. The same - she's got the same expression on her face. Except for the
hand. (Pause, ll") And now well, she, well, this picture - when she's old, she has a
lotta wrinkles because she was worried when she was young of how she was gonna look.

And worrying causes wrinkles. Is the moral of the story (laughs).

Total time: 1' 8"

13 MF. 4" (Laughs). Wow, lemme see (softly, to herself) .
9" This man just killed this lady - because she said he wasn't any good in bed.
(Pause, 7") And now that he's killed her, he wished he hadn't , 'cause

she was his wife. (Pause, 8") He's crying', too. He strangled her.

Total time: 5] "

14. 20" This is somebody who's just seen the light. Oh, he was - like his mind,
he was just living in darkness, you know, where he was goin', where he

was comin' from. Adolescent. No, uhm - well, he was tryin' to find his identity, like.

Now he's seen the light.

Total time: 50"

418

15. 2" Oh (softly)!
9" This is the devil, at the graveyard, deciding who he's gonna take to hell.
He's sayin' decisions, decisions , decisions (laughs). He's reading the
epitaphs (laughs). Ooh, who shall I take, let me see. He's lookin'. This graveyard is
probably safe. It's located in Detroit. Located in Detroit (softly). It's gonna take him

a long time, too, and believe it or not, he's cold. It's a gloomy night, ughhh'.
Total time: 1' It"
(Further instructions given for card #16)

lo. (Laughs) All right, let me see (softly, to herself).

12" The sun. Just a bright glare. You can't look at it too long. Or else your

eyes start to water, little dots goin' around. 5' about it. Mid-July.

(E: "OK, now tell me a story about it. ") A story about it? (Laughs) Well, I was walkin'
down the street one day (Laughs). When I decided I'd look up at the sun. It was just
bright, oh, and I had on my sunglasses, my polaroids, you know? Still it was just so
b_ri_ght. And I was wondering if anyone would ever - try to get to the sun. I doubt it,
because there's not any metal that strong. I was just wonderin' - how it was gonna be in

about - 2000 more years.

Total time: 1' 24"

17 GF. ll" Well, this girl - and this guy are supposed to meet -- at this place where
the guy is standing with some girls. And the girl's up on the bridge and
she's decidin' whether she should go or not. Uh. And she likes him a lot, but she
doesn't know whether she should go. Well, since the sun is black, and everything.
(Pause, 8") Well, now I think the sun and moon are having an eclipse. That's when
they're supposed to meet at the next eclipse - the next total eclipse. And she's still
thinkin' whether she should go or not. She's trying to look over to see if she could see
him. Oh, here's this boat he's going to take her off in. Want to know if she's gonna go?

(Lau hs) No, she's not onna o, she's onna run back home.
9 9 9 9

Total time: T' 32"

419

18 GF. 5" This lady's little kid - you know, little boy? Just fell down the stairs
and broke his head. Broke his neck. (Pause, 10") And she's just - she's

in shock. She's just looking at him. . .She says, I told him not to run down the steps. I

told him a thousand times. Oh, and he died.

Total time: 45 "

19. 15" This looks like somebody's house. Maybe a cartoon one, or somethin'
(laughs). Oh, Christmas Eve, and the snow is pourin.'.And it's cold

outside and warm inside. . .Christmas Eve, two little kids are waiting for Santa Claus

(laughs). Oh, there's no door, I guess the door's on the other side. Yeah. Gonna be

a lotta snow tonight.

Total time: 1' 9"

20. 16" This looks like, um - foggy London town. Somebody standin' under the
light pole. Ah, looks like -- well 1 don't know his name, but it's from

one of Shakespeare's plays, um, Midsummer's Night Dream? 1 don't know, with that

donkey head (laughs). (Pause, 8") Looks like it's real foggy, oan't hardly see where

you're goin'.

Total time: 1' 4"

A 1"

5n
8"
V
A 33 n
A
V
A
V

RORSCHACH, SUBJECT (3,

Card 1
These are the same cards .
Hm.
Looks like a - mm - maybe
a butterfly. Distorted (laughs).
Maybe had an accident or
somethin'.
'5 all there is. (Returns card.)
(E: "You want to - look at it
a little longer, see if you can
see anything else?")
Or it could be a bat.
(E: "That's it:")
Mm hm.

Total time: 60"

Card ll

8" This looks like urn - maybe some

type of meat. Not well done.

Total time: 36"

420

INTERMENSTRUUM

(EQ) Mm. Could bea bat. (EQ) Ora
butterfly, either one. The wings are
kinda - messed up (W). (EQ) Well, just
the middle. This goin' out, the wings.
(E:"Which does it look like more to you, a
bat, or a butterfly?") Mm. Mostly like
a bat - they have these two little things
up there (D1). (EQ) Mm, just the wings.
(unintelligible phrase) (E: "Why did
you say it looked like it was distorted or
in an accident?") Looks like it's - not
even - kinda chipped (points to outer
edge of wing, in Dd 23 area.)

Meat, not well done. (EQ) Little
blood around, you know, not thorough
cooking (D6 + D3). Kind of rare.

(E: "And what about it reminded you of
blood?") Jus' the color. (E: "Anything
else about it remind you of blood?")
Nope. No, it's jus' kinda red there,
like it's not done. (E: "Is there
anything else about it that reminded
you of meat, other than the redness?")
Well, it's jus' the shape, sorta like a

pork chop. (EQ - which more important?)

I think that more so the - color.

A3"

><

A 4"

><

421

Card 111
Hm, I remember this. This
looks like, um, a person,
holding a bowling ball, with
a reflection.
This looks like a butterfly

in between .

Total tim e: 44"

Card IV

(Laughs) This looks like a
monster, wow. The big
tail, small little arms, no

neck, big feet.

Total time: 28"

A bowler. This is the reflection (Dl).
Looks like he's trying' t' - well, she or
he, is tryin' to get into position. Like
this. (EQ - reflection) Well, it's two -
could be two people bowlin' - toward
each other (laugh) And then the butter-
fly in the middle. Or a bow (D3). (EQ)
Well, the shape. (EQ) (Pause) I guess
this is a lady, this looks like high heels
(D10). (Laughs) Bowlin' in high heels,
wow (Laughs).

Well I said this was a monster (W). This
is the way they look - on TV. (EQ) Looks
like somethin' underwater, or somethin'
(laughs). (E: "Would it be more of an
animal-type monster, or a human-type
monster?") Well, kind of a cross of a
human and a ape. (EQ) Just--monster's
feet (D6), monster's arms (D4) all - here,
you can't see his face (D3), big tail (D1).
(EQ) I've seen 'em on TV shows always -
(Unintelligible phrase). Hairy. Well
that's not - doesn't look hairy but. . .
(EQ) The darkness.

422

Card V
A 2" This is a bat - something.
V A bat.

Total time: 12"

Card VI

2" Uh. (Laughs)

7" This looks like - a cat - that
has been sliced open. From
the stomach. This way. And
this is just his skin left, they

have taken all the insides out.

Total time: 29"

Card V11
13" Mm. This looks like, um a baby-

animal, 1 don't know what it would

be. Looking at himself reflected

><>

in - the mirror. 1 don't know what
kind of animal has one horn, but

(laughs). A little tail.

Total time: 43"

I think 1 said this was a bat too. This
one really looks like a bat. This way
(V). (EQ) Well, it looks like it might
be hangin' upside down, you know (laughs).
(EQ) The wings. And these two little
things (DB). How would you call them -
antenna? (E: "I guess so. ") (EQ) Just
the wings. And these.

An then the dissected cat (W). This is -
it's just the fur, they took all the insides
out. Jus' like hung it up. (E: "15 that
the furry side of it, or the other side?")
No, the furry side (gestures to back side
of card). This is the inside . (EQ)
(unintelligible phrase) you know, the
whiskers, 'n - they cut it's tail off.

(EQ) Just the whiskers.

A baby animal (DZ). With a reflection.

1 don't know what kind it is. Just looks
small (EQ) (Laughs) What makes it look
small? Well, it's small on the board.
Might have small features. Little bitty
weasel eyes. Little tail. (EQ) (Dd21

is tail.) (EQ) This was a rock, or what-
ever they were sitting on (D4), n' the
reflection. (EQ) Well, I don't think
two of them would be sitting there, look-

ing at each other. Maybe it's because

(unintelligible) in a mirror. (EQ) It's

just the smallness.

>< ><>

>V<

423

Card Vlll
11" Mm. This is a mountain lion,

tryin' to get up a mountain.

>< >V>

Total time: 40"

Card lX
(Shakes head slightly)

Hm.
(Shakes head slightly)

32" 1 don't know what this is. '5
looks like -- I don't know, jus'
a blotch of - paint (laughs)
that's all I can get.

44" (E: "Well, look at ita little
longer, see if you can get any-
thing out of it. ")

57" Could be an infected throat. I
don't know - might be the pipe.
And the gook around it (laughs).

Total time: 1' 21"

Oh, a mountain lion (D1). Climbin' up
a mountain (D8). (EQ) Well, four legs.
(Pause) Just the first time I looked at it,
it -- well, I had said that before, but --
it just looks like it's climbin'. I guess
it's two of 'em, ‘cause this wouldn't be

a reflection. (EQ) It wouldn't be. (EQ)
(Laugh) It would be hard to get twa sides
of a mountain - in a mirror. One side,
you know. Just looks like it's - together.
I don't know what this stuff is - at the
bottom (D2). (EQ) Well, it really
doesn't look like a mountain, but -- it's
the only thing that I could think of that
he could be climbin' (laugh).

I don't know what this is. I said an in-
fected throat. (EQ) Well, this would
be that - middle thing (D5). (Mumbled
words, laugh.) This would be the beginnin'
of the lungs (D6). (Mumbled words) infect
this whole area (W). Could be strep
throat or whatever. (E: "All the stuff'
around it, then, is like the infection.")
Mm hm. (EQ) Well, when 1 saw this,

it kinda looked like a throat, you know,
the windpipe. An'. . .mm - I couldn't
think of anything else. An' I had a

strep throat before, so. . . (EQ - deter-

minants, infection.) Well jus' - all this

you know, broken up (mumbled).

A 3"

><

424

Card X
This one looks like a throat.
Infected lungs. There's some
broken up blood vessels and

stuff.

Total time: 37"

Total time for 10 cards: 7' 2"
Conversation between free association and
inquiry:

S: Why are you doin' this twice?

E: I'll explain the whole thing to

you at the end.

Darkness in here an' then - light. (EQ)
I didn't notice this before, but 1 think -
well we have two holes in our neck -

in our - throat (Dds23). (Mumbled phrase).
That's about it. (EQ - determinants -
lungs) The color. (EQ) ldon't know,
(laughs) the - pipe goes down to the

lungs.

I said this one was little infected lungs
(EQ) (D9) (Parts of phrase lost because
S mumbles and noise in the hall interferes)
Swollen - infection - like cancer - lung
cancer. The little - germs and bacteria -
around it (rest of W). This could be that
pipe (DI4). (E coughs). (EQ) This just
looks like lungs, l --, and the throat.
(EQ) (E coughs and blows nose.) The
pipe again. Mm - just by lookin' at it
(laughs) Really. Two lungs on each side,

bacteria, maybe, and the throat.

(At end of inquiry E coughs and takes
cough syrup. E and S laugh about this.)

TAT, SUBJECT G, INTERMENSTRUUM

Card 1.4" (Laughs) Well, this little boy, he doesn't want to practice his violin
lessons. He wants to go outside. But his mother says well he'll just -
you know, practice, maybe an hour or two, then he can go outside. But he still doesn't

want to. But he - practices, and then goes outside and plays baseball.
Total time: 30"

Card 2. 11" Mm. This is on a farm. Mother and daughter lives together. And. Oh -
the young girl is in love with this farmhand. But the mother - thinks she's

- he's too old for her. So the girl's goin' off to school. Where she doesn't want to go

because she thinks the mother likes him too. And. They come to find out he really

doesn't like either one of them. And he leaves. After he gets his first pay.

Total time: 49"

38M. 6" This looks like a little - girl, maybe. (Pause, 14") I'm not sure what
this is, probably (mumbled). (E: "Hm?") Can you tell me what this
is (points to object lying on floor at left of card)? (E: "It's up to you. You know?
Make it - whatever you want. ")
32" Well, this is a little girl cryin', um. --She - she just got through -- she
was in a fight earlier today. And now she's got a punishment her
mother said that she has to stay in her house. She lost the fight (laughs). And it's
springtime, she wants to go outside, but she can't. She's in her room, just sitting

there. Sitting on her rug.

Total time: 1' 11"

425

426

3 GF. 7" (Laughs) Well, this is back in the 1940's maybe. This girl has just left
her - boyfriend's apartment, he says he doesn't want her anymore. She,
oh, she thinks she's gonna kill herself. But she didn't, she went on to work the next

day. This looks like Bette Davis, maybe.
Total time: 35"

4. Hm.
12" This girl's trying to persuade him -- to stay. And he has discovered that
he is in love with this other lady. 'N he's tellin' her that he's gonna go,
and she's - askin' him why - why, but he just says, oh, I'll see ya', and he leaves. This
is a picture of her back there in the corner, and this - she must be a little show girl or
somethin'. Dance hall girl, or whatever. Maybe a scene from Gone With the Wind

(laughs). Clark Gable and um - what's her name. . . .
Total time: 58"

5. Hm.
9" This looks like a scene from this book I'm reading, urn - by James, 113
American. This lady, she's a maid, then her mistress, her - whatever -
her lady boss, has killed - her husband, and she just happened to open the door - while
she was doin' it. But the lady didn't see her, and she closed the door and goes back
downstairs, and keeps it to herself for about thirty years. Then she decides to tell, um -

this friend of hers. The police can't do anything about it because it's been so long.

Total time: 58"

6GF. 7" Hm. Now this looks like - some - a movie that I saw, urn - Fredrick
March, and, um. . . (mumbles) .
I think this girl's his secretary and he's tryin' t' get her (laughs) to go
out to dinner with him or somethin'. She doesn't want to. He say she will if she wants

her job. So she quits.

Total time: 34"

427

7 GF. 10" Hm. This one looks like it's - this is a mother - telling her daughter about

her ---mm. She's on her period, this is her first time she's had, you know,
with menstrual cramps and all but - her mother's tryin to explain it to her -- Only she's
kinda young, she's only about nine. Still plays with dolls -- And so the little girl

wouldn't even look at her - she, um can't believe it (laughs). I think she finally accepts

it. After a couple months.

Total time: 55"

8 GF. 8" Mm. This is a girl waiting for her boyfriend to come back from the war.
She hasn't heard from him in about - in a long time, I think about two or
three weeks - I think a month. She's just worried. But he comes back. In a year or so.

And they get married,. and stuff (laughs). Happy ending.

Total time: 35"

9 GF. 10" Hm. These are - two of five women that are deserted on this island.

They were takin' flying lessons, and the plane crashed, an' the pilot
died. And they think they see a boat comin'. And - one of them that's down there,
she's runnih' to see if the boat's comin'. And it'll stop over. there. And the boat comes.
But it's an enemy ship (laughs). Takes them captive. (E: "Well, what happens then?")
(Laughs). Oh, let's see, OK, they take them captive. Take them to this - far - land,
where they're treated real well, so they - they like it. So they settle down there and

marry .

Total time: 1' 8"

428

10. Hm.

11" Looks like Dr. Jekyll or Mr. Hyde, one of 'em. Mr. Hyde. So This is

this just one scene from that movie. (Pause) (Unintelligible phrase)

well, she says she doesn't like him, you know - and he beats her up. And leaves. And
she goes - to her doctor, who's Dr. Jekyll. She says, wow, you look like somebody I
know '. And she discovers - he's Dr. Hyde. Aaah '. (E: "Then what?") (Laughs) Oh,
whatever. Oh, let's see. Well she just discovers that he's - he's um, both people, and
- she tells him. And he tells her not to tell anybody. Or he'll kill her. So she keeps it
to herself. But he eventally kills her anyway. 'Cause he gets into these fits of passion
(laughs). She dies. And he lives.

Total time: 1' 30"

At this point, further instructions are given for cards 11-20.

11. (Turns card sideways, then rights it.) Hm.
5" This looks like, um, the underworld. Down in hell. One of these -
fantastic monsters, 'n - uhg '. I don't know, here's one right here. Like a
- giant bee, or somethin'. (Mumbled phrase, unintelligible.) Looks like a giant bumble
bee. Everything is very large, like - twenty times the size as what it was, uh, over here.
Here's a path - goin' someplace, I don't know. I don't think I want to go (laughs). Do
I have to have a ending? Oh. Well, mm, let me see. It's just the underworld - quote

"the underworld". Where all bad - people go.

Total time: 1' 7"
1 don't like that ending (laughs), bad people.

12F. Mm.

8" This looks like a painting of--a young girl, n'behind here there's like a -

shadow of how she'll look, say fifty years from now. Cause the eyes and

the eyebrows - are still the same, and the nose, and the lips are somewhat - similar. The
hair is wavy. Just wait. (Pause). And this is her - then, and this is - this is probably
her then and her now (pointing). (Pause) Her now and her - fifty years from now. (Pause)
You can look at it either way. This is her now and this is her - fifty years previous, or
this is right now (laughs).
Total time: t' i"

429

13 MF. Hmm.

13" This man was cryin'. 1 think he's just killed this lady. Yeah, he killed

her, cause she said to 'im - she said he wasn't good in bed. 'N - he's

good at everything else, though. Just one little fault and he just couldn't stand it, he
thought he was, you know, he thought he was - um - Mr. - what Mr. - Everything.
Superhuman. Just couldn't take it. She was laughin' an' - so - so he killed her. And
now he doesn't know what to do with her body. 1 think he was gonna actually marry her.
(Unintelligible.) Well, right now he's decidin' what t - to do with the body. (Pause).
I don't know what he does with it ( laughs).

Total time: 1' 6"

14. 12" Mm. This looks like um -- m -- you know how like back in the older days
they used to keep um - retarded or - deformed people up in the attic? I

think this may be a - deformed - man, that they have up 'n -- he's up in his - mother's

or brother's attic. He has this one window he can look out of. He's - you know he's

(laugh) his mother that he could jump if he wanted to, but - he's up too high, he's not

' gonna jump, he's just -- he's just looking out. Wondering why me. Couldn't tell you

what his deformity is, I can't see it, it's too dark.

Total time: 1' 2"

15. Mm.
7" I think this looks - looks like the devil in a graveyard, deciding what
people he wants. He wants to take to hell. He's reading the - um--what
do you call 'em (to self, whispered) - epitaphs? He's reading those. You know like -
which person - what they say about each person. He's tryin' to decide. Which one.

Cause there's not enough people down there (laugh).

Total time: 37"

(Further instructions given for card #16)

430

16. 3" (Laughs) I see my boyfriend riding his bike (laugh). I saw him yesterday,
like that. Riding his bike across campus. He's goin' down Shaw Lane.

Boy, he almost got hit by a car'. Oh '. Then he stopped. And then he's cmsin' out the

man that's drivin' (laugh). Oh. And then he continues on his way to his chemistry class.

(Pause, 13").

You writing all that down? (E: "Mm hm, as much as 1 can. ") (Laughs) Oh well, he

went to his class.

Total time: 46"

17 GF. 7" This girl up here on the bridge is supposed to meet this - this guy down
here by the dock. At--seven o'clock. (Fame) And - she's waiting for
'im. And he's down there, waiting for her. She doesn't know if she wants to go down,
and (sigh). She doesn't know if she wants to go, like a foreign - goin' away - to this
other country. This other city, not country. She can't make up her mind. Came he
doesn't have a job, or anything. . .
And she's thinkin', I can't live off love. But she eventually goes. An' he gits a job,
and stuff. They never got married, though. I don't know what's that black sun (laugh).
Maybe a total eclipse, or somethin' like that occurred today. (Sigh).

Total time: 1' 35"

18GF. 11" I think this little - boy's just fell down the steps. An' he - bumped his
head, and the mother's lookin' at it. And she goes and gets some
medicine to put on it, and he lies down - for the rest of the day. She makes his dinner,
an' takes it up to him. Tells him to be more careful coming down the steps, 'came they
have a rug on the steps, you know. It's easy to fall down. le - um - the middle is

kinda loose. That's how he fell (laughs). So he's more careful after that.

Total time: 55"

431

19. 7" This looks like um - like maybe in a cartoon? A little home? Durin'
the winter time? With some little animals - talkin' animals, live in

this home. Chipmunks, or somethin'. (Fame) An' it's cold, the wind's blowin'. It's

about - ten below zero. They're warm, cause they have their - fireplace going, there's

a little - chimney. (Fame). And they survive the night. Go on doin' what they been

doin' - the next day (softly). (E: "Hm ?") They do what they've been doin' - the next

day. Y'know, the bad weather doesn't stop them from -- workin' (laughs). Workin' or

playin' in the snow, or whatever. (Turns card upside down before returning.)

Total time: 1' 7"

20. 3" This - looks like um -- foggy ol' London (laughs). There's a secret agent
waitin' for his - contact. An' he's tryin' t' remember the secret password,

the secret word, y'know. Just can't remember it. But when the other guys c - come, he

remembers. The password's "joy in the morning" (laughs). (E: "The password is what?")

Joy in the morning. (E: "That's you, huh?") (Both laugh - Joy is 5'5 first name.)

Total time: 37"

RORSCHACH, SUBJECT H, INTERMENSTRUUM

Card I

14" This is weird. This looks like (EQ) I know what this was, like it
some kind of insect or animal looks like a witch, or something, with
to me. I don't get much out this part of this - I don't know - just
of it. Or else a witch - you cloth draped from her arms. (EQ)
know - floating - arms or Well, just right around, she would be
something. (Laugh) That's here (D4) 'n outline of her arm here
about all on that one. (D8) and all this (D2 below D8)

flowing from her arm. (EQ: "So,

Total time: 47" would the stuff down here, then be

included as part of that? Or not?")
Well, logically speaking, no. (EQ:
"No, not logically - I mean the way
that it appeared to you, I don't mean
logically.") Well, no not really, it
wouldn't all fall in. (EQ: "So, it
was more just - like this part, is
that?") Well, I - I kind of thought
you know, like this down here was
something, like draped from her arms.
I don't know, maybe she had weird
arms (said very softly). (EQ: "So,
you're going to say that it's the
whole thing, then?") Practically,

I don't know, what the else, what
else, you know, the rest would be.
(EQ: "I feel like you're hedging;
you don't want to quite tell me. ")
No, I don't really quite know.

(EQ) | just think of a witch, you

432
know, dark, 'n, nasty, kind of,

433

and I don't, you know, 1 don't really
like the picture that much. I don't
know, it doesn't really look like a
head, but it just kind of struck me
that way 'cause it was kinda like a -
woman's shape. (EQ) Well, I thought
of it as a witch first 'came - these
look kinda like horns - they don't
really fit in, you know, like her head
or anything, but they kind of struck. . .
(EQ) N-n. (EQ) Uh-huh. (EQ) Well,
it was kinda the same deal, like the
antenna - something, and the wings.
(EQ) Yeah, but when I look at it as

a witch it doesn't look like an insect
anymore. (EQ) Because of the wings,
and, the, like the insecty kind of head,
like, this structure, not - exactly or
anything - the antenna - just struck
me. In fact, they all kind of look
like, you know, they all - looked

like animals or something to me, you
know, or like - anything living, you
know, 'came they're so evenly divid-
ed you know that, like a human body,
you know, is - it just kind of struck
me as - living, more than - non-
living. (EQ) Not really, just the
whole, first impression. (E:"OK, fine

. . .You don't look happy about it. ")

(Both E and S laugh.)

><V

15"

434

Card 11
May I ask you questions, these
are kind of . . .(E: "Mmhm, sure. ")
1 keep feeling I'm not - 1 don't
know - l - I'm not very good at
this, as far as just seeing things,
you know, 1 just see the blot. . .and
not much else. (E: "Anything that
it reminds you of is fine. ")
It's just that, you know, when I see
them, they just don't remind me of
much. It's really . . .weird.
(E: "Well , take your time with
it.") Well, it sorta looks like a
cat - a face.

(E: encourages turning)

Now I have a cat, firmly in my

mind.

1' 35"

Total time:

(EQ) Yeah, a cat's face. This is

the mouth (D55), and the eyes (Dds30) ,
and the ears (D2) . And that's - like
the nose (D4) (extending to Dd29).
Mm kinda like whiskers (D3). It just,
once I got that in my mind, I couldn't
see - anything else. (EQ) Mostly

the nose - it first struck me. And
everything else just kinda - fit in -
like the ears. (EQ) Just that they
stick up like a cat's ears. (EQ) Well,
almost the whole thing, except, like,
it would be a really shakey cat to have
all that, but I - jmt the - I don't know,
just this area looks - it looks like a
cat's face to me. I just, know, think
of the whole thing as a cat. (EQ)
Well, this (D3) would make it seem
like t1c_>_ta cat (laughs), but, it's jmt
the face that looks like a cat, and

all this (lower side portions of W)

doesn't really fit in, but it's there.

/\ 8"

435

Card 111
This reminds me like of a skeleton
- like of - jmt about - the pelvic
area. I think they all kind of
resemble one. Now it looks like
the head and here of a frog, upside
down. (EQ) The different head
and arms and, you know, about
to here (indicates just above waist)

ona frog.

Total time: 1' 55"

(EQ) Mmhm. See the frog? (laughs)
(EQ) I can't - oh, could be upside
down. Probably the small - underside
ofa frog. His legs (D5), and his face
(D7), and this would be like the -
chest bone, or something (D3) inside
him. (EQ) Oh, looking through him,
'came he's not really opened up.

I saw the pelvic area in this, too, jmt,
you know, it looks like the skeleton,
to me (D1). I'm not really sure. (EQ)
It just. . .just looks, you know, like a
skeleton, with the bones, . . .I don't
know if these'd be like - ovaries(D6) ,
or jmt - I'm not really cool on -
anatomy, or anything. (EQ) Just
the general shape. This - 1 would —

I wouldn't know exactly where to put
that, you know. (EQ) I wouldn't,
but jmt the - the rest of it, jmt, it
jus' kinda general shape - helped.
(EQ) That would be excluded, 'cause
I don't know where I'd put that (D3) .
(E: " Anything else about it that made
it seem like a frog?") Mm, I haven't
any, . . .it just looked like one.

(E: "What about this part made it
seem like a chestbone?") Well, 1
really didn't think of that when l

was looking at it the first time. But

now. . . 1 can't remember if a frog

436

A Card IV

V 20" This, well this sort of reminds
me of a torso of a man. You
know, like, it's upside down.

A I get like one picture in my
mind, then 1 can't think of

it as anything else.

Total time: 1' 47"

really has 'em. . .well - it just looks -
what I -- I'm not sure -- it's what I
think of as like, you know, breast-
plate, or chestbone, or something.
It just kinda looks like one and that's

where it is - it's where 1 put it.

(EQ) Yeah, this one's - the shoulders
(D6) (sigh) and the torso (rest of W) of
. . .He has broad shoulders. That's why
I thought it was a man. And just like
the windpipe (middle of D1), and the
spinal column (D5) and everything.
Jmt all. . .You're like looking like the
front is - front of himis gone, and just
kind of looking through to the back
side. (EQ) It would include every-
thing except these (D4) . (EQ) Jmt
the. . .shape of it, like I got the
picture of the shoulders first, and

I've had like this - a constant feeling,
you know, like this is the spinal
column, and this is like through the
center, and the shoulders just. . ..
seemed to fit in. (EQ) No, I don't
think I would have thought of it

without the shape .

v 4"

><>

437

Card V
Looks like a butterfly (very

softly, almost under her breath).

It's kind of a weird butterfly.

Total time: 31"

(EQ) Yeah, a weird butterfly. (EQ)
'Came it's - like most h: tterflies
aren't that long, 'n. . .skinny like that.
Looks like it should be this way (V),
but the head (D6) should be up here
(D9) . That's right. (EQ) The wings,
and the head, and the - tail . (EQ)
No, I think those -- that's what made
it a butterfly -- nothing else would. . .
Could be almost any kind of insect,
really, 'came it's not shaped exactly
like a butterfly. . .Could almost be a
bat. . .yeah. . . looks almost more like
a bat than a butterfly. (E: "And

what would make it look more like a
bat than a butterfly?") Well the way,
like I think ofa bat, as being, really,
shaped this way (A) and the butterfly
would be this way (V), and the head's
in the wrong place. . .And bats are
kinda scroungy and this one is. (EQ)
Well, jmt rough edges, 'n - like a
butterfly is really neat'n - like a

bat's kinda. . .(makes a face). That's
about the only thing I see there,
though. (E: "You really don't like

these cards very well. ") No, I don't.

><>

20"

438

Card Vl
All of these kind of resemble like -
what I think of as - like material
inside the body - or some - some
part of the body. But I don't
exactly know what on this (holds
at arm's length and squints at card)
I just don't know on that one.

(Said softly, as if to herself.)

Total time: 1' 13"

(EQ) I think nothing. 1 see the

animal skin now. It looks kinda like

a, you know, bearskin - or not a
bearskin, but some kind of skin rug.
And I really don't remember (tape
unintelligible) (Turns, squints at card.)
1 don't think 1 do. 1 just don't remem-
ber. (E: "What I have here is that

you said that they all kind of resemble
material inside the body. Some part

of the body. And you weren't exactly
sure what part of the body it was on
that.") Yeah, well, this one doesn't
really look like much of anything. I
would say it looks more like the rug
than anything else. (E: "Do you know
what you were looking at when you

said it reminded you of part of a body?")
Well, sure, this (indicates W) - like
the - it's so symmetrical and everything.
All of 'em are. That's what makes me
think that that's what it is. l - this one '
it really doesn't. (EQ: "Would there
be anything else about it that would
remind you of part of the body besides
the symmetry?") Well, this kind of
looks like a penis (D2) but - it doesn't
go with the - really with the rest of

it. In order for me to see them as
something, you know, it has to

really -- look - like something.

439

C dVll
A 4" (Laugh) ar
At first glance this looks like
two rabbits - like. . .(clears
throat).

V (Shakes head) I see nothing else.

Total time: 34"

All the pictures, they just don't seem
to fit together, and that. (EQ:"You're
uncomfortable with it, then?") Well,
I, like I said, 1 see, you know, I look
at something and I see itr,= mually, for
what it is and not trying to make it
something, you know. I'm not, like,
super-imaginative, or anything. I
never have been (laughs). (EQ:

"What about that part of the card

that reminds you of a penis?") Oh,
just, the shape, is similar, and, I
suppose these could be kinda like the
testicles (D3) on his head, kind of.

(E: "Did you see that as a penis before,
but didn't say it?") No, not really.
lt's jmt that, you know, the rest of

the card didn't really fit with it, so

1 just. . . .That's about it, I think.

These are the rabbits and they just -
struck me as that (laughs). (E: "Can
you show me where they are?") Yeah,
these are the ears (D5), and this was
the mouth Dd24) and, they've got
their necks turned around. That's
all part of them (W) . Must be
Siamese twins - type rabbits. (EQ)
Jmt, the shape, first, you know,
the first time I looked at 'em, they
looked - that's what they looked

like to me. (EQ) Jmt that they

><>

><

25"

440

Card Vlll
(Holds close to face, then in lap)
I don't know, they really do all
remind me of like, this always looks
like the spinal column, in all of
them, probably because it's, you
know, it's just so, you know, be-
cause it's just evenly divided
(laugh) and these look like little

pink rats (voice trailing off).

Total time: 1' 10"

look a little bouncy. I don't know

if it's just cause they're - when they're
hooked together like that they look like
some kind of a toy - or some - some
kind of a rocking toy. They just look
like they'd move, and they look, I
don't know, they jmt remind me of a
rabbit. (EQ:"See anything else?")
No, 1 can - I can jmt, you know, see
them - that's - even upside-down it
looks like upside-down rabbits. But

1 just get that.

(EQ) Yeah, this one was - a all -
inside - you know - the body.
Centered around the spinal cord.
Like this one, it really looks like,
you know, the spinal column (D3) -
the little lines. . .

These (D 1) just look like, you know,
little rats, or whatever. They just
don't fit with the rest of it, so I
think of them as something - some-
thing distinct. (EQ) Could be like
a little nose, and eyes (Dd) they -
jmt look like rats or some kind of
animal like that. A long tail. The
legs. (EQ) They're kinda slinky,
and, well, these aren't too ugly
'came they're pink. And rats kind

of a - I don't know - hang around

people, and hang onto 'em, and

441

they're like - not really scavengers,
but 1 think of them in the same sense.
(EQ)

(E: "Then, with the other thing that
you saw, the inside of the body -
when, you mentioned that this was
the spinal column, had you given any
thought to what the other parts were,
specifically?") These would be like
the lungs (D5) . Color has as much to
do with it, you know,as positioning.
The rest I kinda think of as, you know,
tissue, or, mmcles, or something
stuck kind of in together. (EQ)
Color. (EQ) It jmt looks - soft -
you know like it's just kind of in-
definite. Like I think of as tissue,
or mmcles, or you know, that kind
of thing. Oh, these might be the
bones (D4) on the shoulder. (EQ)
They jmt kind of - they're smooth -
and once again the color kind of
separates them from the rest of the -
rest of it. (EQ: smooth?) They just
look - I mean, they aren't really,
but they look smooth to me - more
like bones - than this - it's kind of

a big mass, and they're kind of - I
don't know, really - just kind of
distinct, you know, stand out.

(EQ: Lungs - color or position

more important?) Well, no, became

<>

A 30"

A Its"

442

Card lX
(Holds very close to face, then at
arm's length)
The color's distracting, 1 think
(said softly).
1 don't see much of anything in
there (starts to return card) .
(E: Well, why don't you hang onto
it a little longer until you can?")
Well, O.K. (laugh).
The pink looks like a man's head,
and with it, like one big tooth hang-
ing out of it.
Once again, like, looks still like the
spinal column, but not so much be-
cause of all the stuff around it. Here
it looks like, you know, like a
picture of the devil with the nostrils
and the horns up that way. (Holds
card over head and looks at it.) And
he's blowing smoke out of his. . .
(points). (Hands back card.)
(E: "That wasn't so bad once you

got started, was it?") (Laugh)

if - like, if they weren't in - some-
what in the same position I probably
wouldn't think of them as lungs, but
the color just goes along with the
position. (EQ) Not that really made
me think of them. Now I see like
lines and stuff in 'em, but 1 don't

really know what lungs look like.

(EQ) Yeah. It didn't have any eyes.
I can't remember if I saw - oh I know
what it is - the heads up here, but
they don't really look whole. That's
what I first told you. (EQ) Well
they're jmt this whole space right here
(D4), and those are the eyes and that's
the tooth. (EQ) The shape again.
(EQ) They look like young heads -
became they're pink they look - young.
Not like - older. (EQ: "Any particu-
lar kind of heads?") No. This is the
devil's head (D58), right here. Like,
this is - like his ears (D3) and these
are the horns (D7) and these are his
nostrils (Dd523) out of which all the
smoke is coming. (EQ) The green
(D1) [is the smoke]- (EQ) Just, well,
first it was the shape, and then the
nostrils. And it's jmt made me think
of maybe, he's like, you know, eat—
ing the heads - I can't remember

the - it reminds me of a painting, I

Total time: 2' 7"

443

can't remember the name of it, where
the devil is, like, eating the children.
(EQ) Jmt looks wicked. (EQ) Well,

I think the shape makes it look wicked,
and just the - whole rest of the picture
just, you know, doesn't look very nice.
Doesn't have any eyes, like doesn't
have any conscience, or anything.
(EQ) Well, it's just not a ---ir just
doesn't conform, l. . .Jmt like messes
up, you know, the face. The color's
part of the face -- and it just doesn't

. . .1 don't know what I'm trying to say
. . .Maybe he's almost hiding behind
the smoke. It just -- it just looks

kind of evil. (EQ) Well, like the
tooth coming out the head doesn't
look, you know, exactly normal, it
looks a little weird, you know,
strange. . . It might not even be a human
head (said very softly). (E: "You

had also mentioned here, that it still
looked like the spinal column, but

not so much. ") Yeah, well, it still
does. The more I think of it, you
know, as something else, I can just -
ignore it, look over the fact that it's
there, but. . .1 don't know, it's just
that straight, up and down spinal
column like (D5) - here you have

little - I don't know what it would

be , but like, you know, might be

A 3"

<

<>

444

Card X

Well, the blue thing is a spider.
(This and the rest of the verbal-
izations to this card are said very
softly, as if to herself.)
All kinds of little insects.
There's a face. (Points)

Holds lcard very cllosekalng looksj)o
(Sigh) Whit ttlfhrdgsisf. (sclqu'in'fsfl)".3
Weird face with a beard. (Holds
card parallel to floor at eye

level and looks at it "slantways".)

Total time: 1'35""

some kind of internal organs (D6) or
something or other attached to it, jmt,
l jmt, you know, have this picture

-- of it. You know, if I look at it
that way, it will always look -- like
a spinal column (these last words so
soft they are almost inaudible.)(Pame)
These could be - these nostrils could
almost be more like bones - like - I
think of the pelvic area became of the,
you know, the opening - between the
bones and stuff (Dd22). (EQ) Well,

it just does. (Fame).

Well, first all I saw were like - little
bugs - spiders (D1), 'n. . .If I turn it
upside down I get like a really happy
face. Mouth (D3), eyes (D2), 'n the
eyebrows (D4) , nose (Dd34) and the
outline of the face (D9) . {(A. few
questions to determine locations.)
Even in this, like, I could -- I
suppose I could say it was like a beard
(DH), but - the face - but it still
looks like - you know - like a part

of a skeleton, you know? With all
the little bones joining - other bones
(D11). (EQ) Well, this really looks
like - should be right in here (gestures
to her own lower abdomen) somewhere,
I don't know. Jmt - what 1 think of,

you know, what 1 think of as a

445

skeleton. It's the first thing that I think
of. It has the little - different bones,
you know, joining, and all just so -
distinct 'n, such a - like a smooth
shape, like a bone. (EQ) Well it's
just, like it's not really rough 'n it's
got ragged edges or anything, it's just
--|ooks really clean, you know, really
--well, just solid. It doesn't look

like anything - like this (D9) is kind
of - jmt kind of - jmt soft, and can
change at any time, but like, this
bone looks like it's just there; (EQ)
Well, color contrasted with this just
looks. . .l'm really having a hard time
expressing myself. (E reassures) (EQ -
face determinants) Eyes and mouth
first, and the rest just kind of - jmt
fill in. (EQ) Just that they look like
eyes and mouth. (EQ) Well, like

the shape, like a smile - it's a happy
face because of the smile, and the
eyes have like the outer shape and then
an inner - pupil or something, and
they jmt really - look like eyes instead
of a - jmt an empty shape, you know,
there - there's something in it. And
the rest like it doesn't - I'm sure it
doesn't look like a real nose but it

jmt kind of fits in. (EQ) The colors

- being colorful seems kind of happy.

Like the same face - like in black and

446

white wouldn't look - as happy - if it
looked happy at all. (EQ) - bugs

and spiders - determinants of spider)
The appendages, mostly - arms. (EQ)
Spiders are generally darker in color.
They just look kind of rough, they
don't have smooth - legs or anything.
They just - and I think a lot of spiders
have like little hairy things all over
their'legs- just - a mess, and I don't
like spiders. (Laughs). (EQ - other
bugs) Yeah, well, these would prob-
ably be mosquitoes (D7) 'came they're
like - biting the face. (EQ) Well,
the color and their - the appendages
on 'em they're marked - they're not
like a spider - they're just - I don't
know, they jmt make me think of
mosquitoes. (EQ - color or appendages
more important?) Probably the
appendages. (EQ - ameba ?) Here -
these are - almost like ameba (D13) .
They're just separate, and just - there
- and l - see these little places right
here (Dd indentation on top side of
D13) like I've seen ameba and you
know, or pictures of them - jmt kinda
going to swallow up things, and it
looks like that's - after the mosquito
or something. (EQ) Well, shape is

kind of-like an ameba can change

it's shape and be like anything it

447

wants to be - or any shape or - pattern .
It just looks kind of - it's stretched
itself out 'n - it's ready to get

something .

Total time for 10 cards: 13'

Verbalization after last card
collected: "I tend to see
things, like, exactly--exactly
as they are - not, I can't

put things into 'em. "

(E: "Well, it does take a
little imagination.") "Yes, it
does, and I don't have a very

good imagination . "

TAT, SUBJECT H, INTERMENSTRUUM

Card 1. 11" This is his Dad's violin , and it's really expensive, and the little kid just

was playing with it even though he wasn't supposed to play with it, and
he broke it. And right now he's jmt sitting there, you know, trying to figure out what
he's going to do, and he's really upset, you can tell by the look on his face. He's, you
know, really feeling bad about it. And he has no idea of what he's going to do but he's
thinking of how angry his Dad '5 gonna be. You can jmt tell by the look on his face he's
really - about as down as you can be. And l have to tell - like - the out - what he's
going to do? Well, I think he's gonna eventually face, you know, own up to it and tell
his Dad,and I'm not sure if his Dad's the type who's gonna respect him for his honesty or
not, but I hope so, for his sake. I think he will. He looks like an intelligent kid, and
probably his Dad is, too.

Total time: 1' 37"

Card 2. 7" This one 1 think. .I think she wants to marry this guy. But she's being -
this is her mother, standing there, watching. And she's sending her away -

away to school so she, you know, she won't be near this guy 'came this guy is too - you
know - near the farm and everything and her Mom wants her to have something better.

So she's really - she's really upset - you can tell by the look on her face and she's - it
seems like it's about the end of the world. But she also looks like she's kind of resigned

to it. I think she will go, she won't - her mom's standing there with that, you know,

look on her face like, "You will go, 'came I say you will go." And she's gonna go.
She's sad about it - doesn't want to leave him. He doesn't really - he cares, but he's

- knows that the work is more important.

Total time: 2' 15"

3BM . 7" I think this is a girl. I think she's. . .He jmt told her that it's all over and
she doesn't. . .There's a gun beside her and she doesn't, you know, like
she doesn't really - know if it's worth it or not. That's why she's sitting there crying
instead of shooting herself, 'cause she's kind of thinking, kind of, just, you know, sitting
there. . .and being unhappy. (Laughs) Completely unhappy. She's not gonna shoot herself,
448

449

'came if she sits there long enough she's gonna know that, you know, it's not worth it -

he's not worth it. (Said very softly) I don't like that picture.

3GF. 7" I'm supposed to think of the first thing that comes to my mind? Not --
(E: "Make up a story. ") Just make up a story.
Hate to be repetitiom, but it looks like the same type of story to me, you know, like, I
get the same idea like he's left her, and she's - just about going crazy like now she's
trying to stop - trying not to open the door, you know, to call him back. Which she
really wants to. 1 think she - she's going to - to him - to him - and call him back.
Maybe if she begs enough, he'll stay. Became she's not very pretty. Maybe he told her
that. She's got really masculine arms - big. (Softly).

Total time: 1' 12"

4. 8" He really knows that, you know, whatever she's saying is a lie. She's got

a lie on her face. She's a real witch. I see another girl in the background.
I think he's - like he knows she's been unfaithful to him. And he's trying to defend like -
she's, you know, telling him - I don't know - this'll all change, you know, I'll be better
in the future. But he really knows - like he knows by the look on her face she can tell
that he knows she won't be, but he's kind of torn between knowing that, you know, it's
going to happen again, or staying and trying it. She's really -- just a - just a real bitch.
Really is, you can just tell that everything she says is a lie. I think that he's gonna leave -
he's gonna leave and she's just gonna say "the heck with it. " He'll probably find somebody

better .

Total time: 1' 19"

5. 5" Ah. .This is Mother. She just peeked in the living room and guess what she

sees '. (Laughs) Her daughter and her boyfriend - making love on the couch.
And she's - she's torn like she knows they love each other and she doesn't know whether to
interrupt or just - to go back and - you know, go back to bed and think about it for a while.
But - she's really shocked. (Laughs) By the look on her face. (Softly) I think she's not

gonna say anything, because she doesn't want to embarrass ' em that much - and she wants

450

time to think about it before she confronts her daughter. She's not the type who'd come
in and throw her out of the home or anything for it. She'll probably go back and talk it
over with her hmband.

Total time: 1' 3"

6 GF. 9" This man has surprised her. And she's not very happy to see him, either. I

think he's someone - someone from her past that she's tried to forget about
and now she's happy, and she's - oh, either married, or about to be married, and she
doesn't want him to interfere. He - he's the kind that'll cause trouble, you know, he
wants her back, and he - he'll stop at nothing . I think she'll kill him in order to shut him
up. I don't know if she'll get caught or not. She jmt looks - she looks dainty, but she
still looks the type like - you know, if she had to, she'd do it.

Total time: 1' 5"

7 GF. 12" This one I'm not sure.

20" OK . The little - Mom is reading to the little girl and she's sitting there

with her doll in her hand, but she's really - far away - and she's thinking -

oh, thinking of places she'd rather be, and things she'd rather be doing, and wishing, you
know, she were grown up, and could have a family of her own and everything, and her
Mom kind of realizes that she's not paying attention. And I think she begins to realize,
you know, that her daughter is growing up and she's not - she's beyond the point of
stories and dolls, and things. And maybe she'll help her, you know, to at least try to --
at least talk to her, ' n realize that, you know, she w_ill_grow up eventually, 'n, not -
not to rush things. I don't know, she has such a wistful look on her face - you know,

she's so far away, she's not looking at her Mom at all.

Total time: 1' 13"

451

8 GF. 11" She's at home, alone and she's mually alone. She doesn't have, oh, a
boyfriend, or anyone to date or do anything with and she's jmt - wishing
so hard, maybe figuring maybe if she wishes hard enough it's gonna happen, she's gonna
find someone. She just has a - she's just really dreaming, like with her eyes open - she's
looking for, far away, and she's just hoping - to see something coming. I think something
will, because she's - you know, she's pretty and she looks intelligent, you know, like
she has a good mind. She works hard, you can tell by her - arms and her hands and - her

clothes, she doesn't sit around all day but, you know, she still - hopes.

Total time: 1' 10"

9 GF. 24" This is a hard one. 1 can't - let me see.

37" They look like twins - like twins do (very softly) and one's just furiom, and

the other one's jmt sitting there watching her run by. I think the one that's

just stand -- you know just standing there doing nothing, she has a really guilty look on
her face. I think she - you know - did something or faked something in order to make her
sister so, you know , enraged. Possibly - probably become she - she is, you know, in-
fatuated with her sister's boyfriend and she's trying to make her sister angry enough at him
so he'll just tell her to get lost, you know, and she'll stand a chance. She's just standing
there, and she just looks - really guilty, but she can tell she's not .gonna move and try to
stop her and tell the truth. Her other sister is - all dressed up 'n -- furiom, just running.
1 think - they'll probably straighten it out, and the one who, you know, did the manipu-
lating is gonna be sorry in the end. But right now she's sorry already, but she's not very -

she's not sorry enough to do anything about it. She '5 just (last word inaudible).
Total time: 1' 47"

10. 7" This one can be - well you can either look at it happily or sadly. She
almost looks like she's crying, so I think - I think that this just is - this is
an old couple and they jmt found out that their - their oly - only child has been killed,
like in a war, or something. And they're just, you know clinging to each other, and they
know they still have each other but they still, you know, feel like they've lost a part of

them, which they have, and they're just - they'll get over it --1 mean they won't ever get

over it completely but they will be able to go on, you know, without him, but they're

452

jmt, right now they're just clinging to each other - just you know, trying to know that
they have each other still, and that they will have each other. And they just look really
super-unhappy. They look like a - you know - a really nice couple. Like they didn't

deserve, you know, to have something like that happen to them.

Total time: 1' 14"
At this point, further instructions are given for cards 11-20

11. 14" Little thing that's at the top of the ledge. Some kind of - like giant monster
bug or something. There's a little path coming down to where - like where
l or where you are you know, and he's - like we're trapped there on a little tiny piece of
rock, just standing there. And he's not - he's jmt taking his time, you know, he's gonna
come down there and we know it - but like - we're just rooted to the spot - there's no way
of escaping anyway but you couldn't move, even if you had to move. And there's a whole
bunch more of 'em coming from around here. 1 think they have to come down here. But
he's just the advance - number. And jmt - you know - just paralyzed - jmt sitting there,
waiting for him to come. (E: "Wow '. What's going to happen?") Well, probably going
to wake up '. (Laughs) Hopefully before they get there. There's just a - you know -
short ledge -- you can just imagine 'em coming closer and closer (in a lowered, spooky
voice) and so: on - mm ten, twenty. . .But he's just standing guard, you know, so you
can't escape before they get there. I would prefer to say they're not gonna make it, you

know. Say the rock's gonna give way or something. I'm not sure.

Total time: 1' 32"

12F. 8" This is a real bitch (said softly) you know. Hm. She's telling him that he
can have anything he wants, you know, anything at all. She'll let him -
you know - all he has to do is like - when he dies he goes over and he gives himself to
her, but like can do anything he wants while he's alive. And he's just, you know, she's
like the devil and this - he's selling his soul, in other words - he will be. She's kinda
cute and funny (laughs). She knows she'll get him. He's really thinkin' hard about it -
and thinking of all the things he could do. Yeah, he's gonna - he'll give himself up.

You know, that's closer to reality than anything else.
Total time: 1' 9"

453

13 MF. 12" He just raped her and he's sorry. Oh, wait a minute, I'm supposed to
really let go on these, right? What if I can't seem to, you know, think
of something, you know--(E: "Make the best story you can. ") He's really sorry now, 1

think --mm - (Fame). She's dead, 1 think. Mm. (Pause). It's a real? bummer (very

 

softly) (laughs). (Fame) . I really don't know what he's gonna do. Maybe he'll jump out
the window. That - that one I just can't think of anything, that's not, you know, not -
that could really happen, you know, It really could. I think he might kill himself. But
he won't do anything like to dispose of the body or clear himself of the guilt, he's, you
know, he's beyond that point, he's -he feels too bad about it - or he's - too remorseful

to ever think of trying to cover up, you know. He'll either kill himself or turn himself in.

Either one. Not try to hide it.

Total time: 2' 11"

14. 5" He's gonna fly (very softly). No, maybe not. I think he just has to escape.

He's in - this total blackness, and something's there, and he doesn't know
what it is. And he's - you know - he won't fly, he knows if he jumps he's gonna die. And
he knows if he stays, you know, something may be even worse'll happen to him. So he's jmt
you know, looking out at the full sky, 'n wishing there were some way he could - he could
be out there and yet, you know, still be alive. Like the thing, or whatever it is, is - is
behind him somewhere, and he knows he has to make his move soon, so - rather than face it,
he'll jump, but he's just gonna s - sit there till the last minute, you know, last possible

minute, and then do it. It's a really neat picture.

Total time: 1' 5"

15. 10" He just came up out of his grave. He's really old. . .Like his skin is almost

gone off his skeleton, but not quite. And he's really mean, and he's really
mad became, you know, the only reason he was there was became of somebody - he didn't
die naturally, or anything. It - it was some guy killed him, not a girl. And he's - he's
gonna get him as soon as he gets, you know, his bearing. He's just kinda wandering around
lost for awhile, but he knows what he's - what he has to do. Wherever he is, he'll kill

him. Then he'll go back.
Total time: 48"

454

(Further instructions given for card #16)
Oh, not a nightmare-type picture, just any picture. (OK .
16. 6" A nice - stream, and 0 mm beautiful - countryside, in fact, it's out in the
woods. Jmt a, you know, a couple sitting there, just - not doing anything,
just enjoying, you know, enjoying the - nature, and just - being together. It's just - you
know - really - pretty picture, just peaceful, restful, and just, you know, just totally
enjoying being together without - you know - even talking to each other just watching -
nature.
(E: "OK . Now make up a story about it. ")
OK (Laughs) (Unintelligible comment about stories.)
OK, so they're just sitting there (Fame 14") Just any kind of a story?
(Pause, 8 "). I see them so peaceful, I don't like to interrupt. (Fame, 18") (Noises in
the hall outside the door. (Sighs) So they went down the elevator (laughs). I think they'll
just, you know, they're just gonna sit there for awhile, and they're gonna decide that it's
such a beautiful day, and they're gonna sit there for awhile, and they're gonna spread
out a blanket and make love in the outdoors. I don't know, I just think they're going to
always, you know, love that spot, and think of it as, you know , something really special

to them. I don't know, it's just all peaceful and restful and all that.

Total time: 2' 19"

17 GF. 15" The sun's about to explode, and this - this girl knows it, and she doesn't
know what to do about it. Like she can't, you know, she can't help any-

body and she can't stand the thought of keeping it in - you know - within her anymore,

it's just - like the sun is all covered with black and you can see all the bright rays coming

down and she knows it's gonna, you know, it's just - she just somehow knows, something

has told her. Like she's never, you know, had any revelations like this before, you know,

it just - comes to her. And she's just standing on this bridge, looking into the water

trying to decide - you know - if it's coming. 1 think she's just gonna keep it, you know,

inside her, and she's jmt gonna stand there. Maybe it will happen, you know, right away.

She knows it's gonna happen, so she's just not gonna tell anybody, so nobody else has to

worry about. I think it's gonna happen, too.

Total time: 1' 10"

455

18 GF. 8" She's choking whoever it is. I think it's - maybe" her -- maybe it's her

son, and she got so mad at him, you know, that she's killed him and now
she thinks he's just dying, you know, it's nothing she's - kind of - removed herself from
the actual fact and thinks'he'sdying and now she's, you know, really, just - hysterical
became she wants somebody to help him. She's kind of forgotten -- she just pushes it out
of her mind that it's her fault. You know, she doesn't -- she doesn't realize that it's her
who - she has done this, you know, she thinks he's just, you know, just - something that
can't be helped, you know, but she wants somebody to help him and there's nobody else
there. And she's jmt kind of holding him, and he's - he is gonna die. She'll never really
be able to accept the fact that even if, you know, somebody accmed her of it she'll

never be able to really know that it was her fault.

Total time: 1' 4"

19. 16" This is a - kind of a dugout-type home with a little (unintelligible) sticking
up out of it, with a chimney and two windows -- and the family inside is
like happy -- and 1 don't know what they're doing but they're unaware of the horrible storm
that's going on outside. And they're never - like their home is almost buried, is almost up
to the windows, and they're gonna be - completely buried and they're never gonna make it
out alive, and they don't even know it. And when they're not gonna know it. Which is -
you know - the good thing about it. They're jmt, will never realize , you know, until
maybe the real end - that - they're never gonna make it out alive. Probably won't even try
to make it out, 'came they won't realize that they have to try. It's jmt a really horrible

storm, you know? And that's-- all going to die (said very softly).

Total time: 1' 8"

456

20. 5" He's an old man, and behind him looks like a prison fence. You can see
the lights of the town, off through the trees, but like, he's really old,
and he's -- he's just never - he knows he'll never make it out, never ever. He could
never even escape, even if he, you know, he's too feeble to - try to escape, besides
there's no, you know, way anybody can. He's trying to make himself realize that he'll
never see, you know, out through these walls 'came he knows he's gonna die. He - he's
just -- I don't know - he just - he's always filled with remorse now for whatever he did -
before, he didn't really think, you know - it was that bad, but now he wishes he had
thought about it first, because it's - it's, you know, he's just - that's the end for him,

right there - it's (last few words too soft to be heard).

Total time: 1' 8"

A 7”

RORSCHACH, SUBJECT H, PREMENSTRUUM

(Sigh)This is gonna be a real
problem because these are all
the some cards, I know, and

I remember what 1 saw in them
before, so that's just --instinct-
ively what I'm gonna think of,
I'm afraid. (E: "Fine, it
doesn't matter, just tell me

whatever you see . ")

Card I
Hm
I'm not sure exactly what that does
look like now I - this - l'm remem-
bering what I - said I saw now, you
know, I just - don't want to see the
same thing again (laugh), is all.
Well, I see a - there's definitely
a face there. Looks kind of like an
evil cat or almost like a jack-o-
lantem. It reminds me of that,
somehow. (Sigh.) Hm. You know,
I saw a witch in it before and now
I really don't think it looks much like
one. This is the shape of a woman in
the middle.
All done on that one (very softly).

Total time: 1 '56 "

457

(EQ) OK, well, this is the shape
of a woman's body, right there (D4)
which l-thought looked like a -
y'know, really-bad witch before,
and this time I just-jmt see mainly
that shape by itself, and the rest
of this is more of 0-0 face. A-it-
somehow it just reminds me of a-
kind of like a Jack-o-lantern.

It looks mean. Y'know, it's the
blankness behind the eyes, or else
it looks kind a like a eat, too.
(EQ -woman, further determinants)
Mm--l think I m-mainly thought
of it as one before, and just the--
ok like you can kind of see the
shape beneath what might be a
dress, you know, it's not-the
whole thing wouldn't be her. (E Q)
She's--kinda has a head like a

A 3n

Cord II
This is my cat (very softly)

It's 'ust a cot. That's all
I

it is. With whiskers.

Total time: 28"

458

frog (laughs) And her hands (D1). I
guess those are hands sticking out.
It's just - you couldn't - it's just a
woman's shape, not a man's (EQ-
Jack-o-lontern location.) Well, if
it's a cot it's the whole thing. These
are his ears on - stuck out of his head
(D7), but - the Jack-o-lontem would
just be - y'know, a circle, like. I
guess it's more like a cot, come 1
don't know how to explain the ears.
(EQ) Jus' this kinda - not really
whiskers, but jus'looks like a cat, to
me, the shape of it. (EQ) Just the -
well, the eyes can either be like
really blank or really - mean, and I
think a - lotto cats - y'know are just

kinda - not evil, but - mean. Some

of 'em. (EQ) No.

This one looks more like a cat. The
ears (D2), and the - finely shaped
nose that cats have (D-4) . It's the
most distinct thing about it I think.
The - holes where the eyes (Dds30)
and mouth (D55) should be. And the
whiskers (Dd25) - on his chin. 1 just
kind of blank out anything that's not
part of it. You know, that doesn't
really look like it and jm' make it -

make it look like it. (E: "So it's -

459

A Card 111

V 11" Should I be remembering - all these
things? This wo - 1 mean this -
(E: "There's no should," E and S
talk at once: E: "lt's jmt what-
ever you see, if you see the some
thing, fine, if you don't see the
some thing, that's also fine. Doesn't
have to be the same or different.
There's no rule about it. ")
Yeah, I just - looking at it one way
I see the frog, and the other way
I see like - a pelvis, with ovaries
or something here, and jmt the -

bone structure, through here.

(Gestures) (Fame , 18")

Total time: 57"

it's kind of like the whole thing, but
it's also not kind of like the whole
thing.") Yeah, well like if you
shave off the edges - it looks a lot
more like a cat. (EQ) The n - this
port, the nose, the little line here
that divides - jm' - the nose looks
more like it - to me than anything
else, that jus' suggested it, an the
rest kind of fits in. The mouth on'
stuff. (EQ) I don't think so.

This looks like - the pelvic - bone to
me (D3) . That's what - first reminds
me 1 think of - like the bone structure
an' stuff. (EQ) I don't know.
Kinda looks like a bow, too. The -
that's jmt what it strikes me as. An'
when 1 think of things like - inside

of - things naturally uh —don't fit
exactly together, but like I - think
of these like as ovaries, or something.
Giant size (D4). (EQ) Right. Like

1 said before, um, they all kind of -
a lot of the pictures kinda look like

- a human body became they're so

- symmetrical. (EQ) Mm just come
they're - they're attached to the

rest of the body, y'know, they're -
not just - by themselves. An' - 1

don't know. Positioning, I guess,

V ‘8"

<>

460

Card IV
This - looks like the--well it's -
here, and like the back I'm
looking right through somebody's
body, like onto the back - wall
of, y'know. And it's a man came
the shoulders are so broad. Jmt
like the - throat and everything is
visible - visible. All the - things
inside the body.
I get these set pictures in my mind,
y'know, and that's all I - that's
what it is.

(E: "OK, that's great,")

Total time: 56"

makes me think of 'em. An' there's
the frog. (EQ) This is the frog (D1).
This - would be like the breast bone
of the frog (D3). And (sigh) these 1 -
still can't - place (sigh) (D2). E:
("Is that - part of a frog, or a whole
frog?") Up to there (indicates upper
half of own body.) (EQ) Just - m -
mainly the shape. With the arms.
Help it. (EQ) Well the head - looks
a lot like a frog. 1 think of their eyes
as being kind of covered like that.
And the - thin bones coming out.

Jus' looks like a frog.

This one jus' looks - l --I don't know
if that's exactly how I think y'know
the inside of a body would look, if I
could look right through it, but -

it jmt strikes me as that, jus' the
whole - looks like just pieces -
y'know, of someone. Almost like,
y'know, maybe the ba - the body
was badly burned, it would be that
color, too. (EQ) Mm - just - it -
well it just looks right - under the
skin, y'know, you'd just lift it up
an' - its - the shape of the shoulders,
you know, make me think it's a man.
Just the texture of it - looks - like -

mmcle or skin, or whatever - tissue.

><>

‘5"

461

Card V
This one's still butterfly. A bug
or something. Some kind of
vulture type deal, that - I don't

know, it looks--mean.

Total time: 42"

(EQ) Both the texture and the outline.
The color doesn't really have that much

to do with it. (EQ) The outline first.

(E: "Why are you shaking your head?")
I don't know (both laugh).. (E: "You
don't like that one?") Not especially,
no. Jmt - reminds me of a butterfly

or a bird, but it jmt seems to be
backwards. Like - this should be the
head - the head sh - should be here

(at D9) . And this would be the tail,
it's just - (5 turns card V and A ).
(E: "So you're really not happy with

it either way. ") No. (EQ) The wings.
The - like the antenna, and the tail.
It's jus' - fits, but it's - backwards.
(EQ) It just looks kind of -- jm'
light, like it would be able to fly.

(E: "What makes it look light?") Hm.
That's a good question. It just does.
Maybe it's because I'm thinking of

the shape, and I think it should be
able to fly, and it should be light, I
don't know, it jmt looks light to me.
Like it would be able to fly. (E:"Now,
you mentioned seeing it as a vulture
too. What would make you think of

it more as a - vulture than a butter-
fly?") Well, like the wings aren't
perfectly smooth and it's just looks
kind of rough. Well, uh, when l

><>

IO"

462

Card Vl
This looks like a rug. Bearskin
rug, or something.
It still looks - resembles a
penis, but it does - it just
doesn't fit with the rest of the -
picture. (Sigh)
Kind of (very softly) some kind
of weird, germ-like - creature.
Mic - you know, magnified or
something. This - an' this -
this - this down here (almost

whispered.) (Sigh.)

Total time: 54"

look at it this way (>) it looks like --
a vulture, like you know, flying
sideways or something, with it's open
jaws. Looks sharp. But - it's flying,
whatever it is. (EQ) Came it's
black. (EQ) No.

Looks like a rug, mainly, became it
looks like, you know, just skin -
that's been treated, or some - this -
not - so much like a rug as jus' like
an animal hide, or something, cause
it looks kind of smooth. But it has a
pattern on it. (E: "What makes it
look smooth?") lt--there's a pattern
there, but it's not a rough (gestures)
--rough one, it's just, you know, kind
of a delicate - pattern. It just - it
looks like - calf skin or something to
me - would look. It reminds me of a
skin jmt because the - well these
sticking out here might be like what -
med to be - arms and legs or some-
thing just - just out flat. They don't
really have their original shape any-
more (clears throat). (EQ) Well,
prob' jmt about this much (D1) would
be like the skin. (EQ)—-Well, once
again come it's so - uhm - the word
symmetrical fits - you know - like

when you have a skin you have the

whole thing, and this is dividing it,

><>

<

Card Vll
I'm trying to see - something
other than the rabbits - in this
one, but. . .(laugh) (Sigh.)
(Shakes head)

Total time: 37"

462

and it's -- just practically the same
on both sides, like on an - like, you
know, a human is, or an animal is.
(EQ - what else you saw) Yeah, this
looks - kinda like a penis (D2) Just
the shape again. (EQ) Not really.
(EQ.- what else you saw) Yeah, I
think so. (Phrase too soft to be heard.)
--That looks like it could be some
kind of germ or something, you know?
I don't know just--l'm not so sure
(Pause) It doesn't really look like
that to me right now - y'know, this
instant it doesn't, in that instant I
guess it did. (EQ - location) Well,

I think--moinly at this part (D6)

I couldn't quite, you know, decide
what that was. I just said kind of -
I don't know what it looked like.
(EQ) Well I know this - l was try-
ing to explain, you know, this -
part here and I didn't know what -
it doesn't really look like that to me

anymore, y'know?

Rabbits - they don't really look like
rabbits, but - I can't - picture any-
thing else, but them. (EQ) Just
the whole thing. They're just,
y'know, attached to each other,
but turning - turning their heads

around and looking at each other.

V 7"

Card Vlll
OK
This is the one that really looks
like - inside of the - body to
me, jm' some some tissue or
muscle or something, inside
of — jus' the shape, an' the -
bones that look like - a spine.
Upside down.
Little pink rats on the side.

Total time: 5] "

463

They have their paws out in front of
'em. (EQ) Well, the ears - look like
rabbits. Mm I don't know, they look
kind of bouncy. Even though they're
hooked together, they (laugh). (EQ)
I think the fact-that - it looks like
some kind of a rocking toy, y'know,
that go back an' forth. 5' kinda bouncy.
That's about all 1 can, y'know, see
in that one. All I can see in that

one today (very softly).

This one the inside of the body. Like
I - I can't make up my mind which -
is right side up, cause this looks like
- the spine, or - ribs coming out of
it - to me (D3)-~but somehow I think
of the pink and orangish tissue as
being on top, I don't know why, it's
just warmer. .(pame) And I remember
how 1 saw this last time and 1 don't ‘
really see it this time (Fame, 24")

I guess it would have to be this way
(A) (EQ) The pink, yes (W ex-
cluding D1) . (EQ) Not really,
like - 1 know I said these were -
lungs before, but right now they
don't really strike me as being any-
thing special. Jmt the different -
(E: Which were the lungs?") These
were (D5), before. (E: "So it's

Card lX
This one I remember the best
(very softly).
This is the one with - the devil

with horns, an' his - nostrils

464

just kind of the inside of the body,
but-") Nothing special. (E: "With-
out saying what's what. ") (EQ) What
makes it look like that? Well--jm'
the spinal column - with the - plays
a big part with the little - what look
like - ribs. (Pause) I don't know I
jmt - just see things - like they are.
(EQ) About the card? (EQ) Well,
just the general way they're laid

out - the shape of em. And - sort of
the colors, you know, made me think
more of the inside of the b-body than
it - than of the outside. (EQ) No.
(EQ) Yeah, or some kind of animals.
Jmt - I can just - y'know really
clearly see their heads. And their
feet and tail (D1). (EQ) (Pauses 12")
Maybe just cause they're climbing on
- the body. I think of - rats are just
about the only kind of animal that
would do that - pause) Jus' so -
repulsive. They kinda cling to
everything. (Pause) That's about it
though. They just - strike me as -

being rots.

OK. There's the devil's - horns and
there - there're his ears 1 should say
(D3) and those are the horns (D7) .
His nostrils (Dd523) and the smoke

465

breathing smoke.
Also looks like, y'know, some -
gods breathing down out of the

heavens. lt's upside down .

Looks - looks kinda weird.

Total time: 53"

(D 1) . He doesn't really have any
eyes, like he doesn't have any can-
science - jus' blank. (EQ) It
doesn't include this (D6) . These look
like - look like heads to me, some-
body with like o great big tusk com-
ing out of their mouth or something
(D4). Like I think of 'em as some
kinda like evil gods looking down
outo the heavens, or something,

an' 1 don't --m-l don't know if it
really looks like they're blowing
smoke out of their mouth kind of.
Anyway they're jm' looking down.
(EQ) Well I could see like an eye
and the mouth, and the shape of the
head, and like his shoulders. Jus'
leaning partway. A hand. (E:
"Anything else about that remind
you of - gods?") Well, I don't -
see the shape, an' then became
they're - leaning like that, it looks
like they're looking down, that's
why I think of gods, rather than jmt
- humans. They aren't - friendly
gods. (EQ - devil, further deter-
minants) Oh - because he doesn't
have any eyes, an' 'es like a -
orange he's not a normal - color.
Looks - slightly evil, and so I think

of the devil. Especially 'cause he

was blowin' - smoke out of 'is nose

V

4”

466

Card X
This is a face. Also got the
pelvic bones at the bottom and
the - the spinal column.
It's really germy - little things

crawlin - climbin' all over.

Total time: 47"

 

Total time for 10 cards: 10'30"

E: "You got rid of those faster
this time than you did last time."
S: "This - it's - you know if I
remember something one way,
that's - nothing's going to change
my mind about it, you know, in
looking at it. "

E: "Well, like 1 said, there's
no right or wrong about that,
that's - that's fine, it's jmt

whatever you see . "

- or mouth - I don' know. . . (EQ)
No.

This is the one 1 see the - happy face
on. This is like the nose and the -

'is

I don't know - bridge across
face (D6), an' eyes (D2), eyebrows
(D4) . This is the outline of the face
(yawns), excme me (D9) . This might
be like - it's kinda like a beard (D11),
but it's really something else, it's
not too much part of the face. An'
all these little things are jus',
y'know, trying to destroy the happy
face, but - they can't, can't get to
'im - 'es too well protected. Looks
like they're gonna have to destroy
each other in the attempt (D's on
lateral sides of D9). (E: "How are
they trying to destroy the face?")
Well they're jmt tryin - looked like-
looks like they're picking away at it,
but then - they can't get to him, so
they're going to get each other.

Jm' starting t' - go after each other.
(EQ) They jus' look like - different
- insects. Spiders. . . .an' jm' grub
type - y'know - wormy. Things like
you never want to touch. (E: "OK,

Anything else about that face make
it seem happy?") Oh - it looks

467

happy and yet--in another way it lo -
it could look concerned. Depending
on which - - I guess on my frame of
mind (laugh) I guess that's about it.
(E: "What would make it - seem
concerned?") Well, maybe the -
worried looking eyebrows, I don't
--the mouth can either be - it's not
a big enough smile to - clearly de-
fine it as happy. Y' can either take
it that way or - as looking - kind of
a half smile - just - not really think-
ing about what's going on, y'know,
concentrating heavily. (EQ) Make
me think of a face? -- Jus' the
features, jm' seem to pop out,
y'know, on make - the face is just

there .

 

Conversation After Inquiry:

E: (Asks a question, unintelligible
on tape became of other noise.)

S: "I'm just afraid this isea bad day
for this . "

E: "Are you hungry, or you jmt
don't feel good?"

S: (Laughs) "No, just-emotionally,
I'm upset (laugh)."

E: "Oh, really? Did something
go wrong?"

S: "No, everything's going wrong
(laugh). "

468

E: "Really? I'm sorry to hear that. "
S: "Well, (unintelligible phrase)
No 1 just - started dating someone
else after dating the same guy for
like - almost three years, 'n he's
upset, 'n - upsets me, but 1 like the
other guy too. So. . . .l'm just all

mixed up (laugh) . "

TAT, SUBJECT H, PREMENSTRUUM

These are the some pictures, too, right?

Card 1. 8" He's got a - little kid - been taking lessons - for quite awhile. He's
supposed to've been taking lessons. Some of 'em he skipped, and now
that it's finally come down to--he's gotta - prove to everyone that he's you know - he can
play it, you know. He's just been informed that he's going to give like a private recital,
and he's sitting there thinking what am I gonna do, you know, became he hasn't been
going, he doesn't really know how to play it that well yet, and the minute he - begins to
play, everybody's gonna know that. Like he's debating whether to or not to - to come out
and tell 'em, or to make a - make an attempt, you know, when everybody's there - to
watch him, n' laugh - if he fails, probably. But he - he can't quite decide, which is -
you know - which is the best thing to do. I think he - doesn't look --quite grown up enough
to know that - the best thing to do would just be like to tell his parents before, you know,
before they invite everyone else, and - or at least, you know, let them break the news
to everybody else, and not make a fool of - himself in front of 'em. So I think he's gonna

try it, y'know. An' muff it.

Total time: I' 30"

Card 2. OK .

18" She fought - with her parents - y'know, over going to school. Like '

they thought it was worthless for a girl. And she - has tried to convince

'em that it's really necessary, that it's something she really has to do. But she - she won,
she's going away to s - she's going to school but--l think she's just wondering, y'know,
now if all the hassle and everything was worth it, and if this is really what she wants.
She looks - sad like she's about to - turn back an' her - mother is standing there - haughtily,
looking like well, this is what you wanted, you know, go. But the - she's kind of tied to
the farm and this is the way she's med to, and I think she's afraid to face - the different
kind of life - that she's going to - she will. She won't - she's too proud to - admit that
she was wrong, or that she thinks was she's wrong and 1 think she'll go ahead, you know,
and do well in school, but she's just - right now she's - y'know, facing a great - emotional
conflict - but she's jmt trying to decide whether to stay or go. She'll go.

Total time: 1' 33"
469

470

Card 3BM.9" This one - this is a girl--and (very softly) her hmband just left 'er for

another woman. She's sitting there she's got a gun on the floor beside 'er--
but--she's - fought down the impulse to pull the trigger so far, so she - probably won't
really do it. It's just the fact that, y'know, she's considering it that's bod, she's--just
really torn up. I'm sure she'll never really be the same again, but at - least, you know,
she'll--she'll go on living, she won't kill herself. She doesn't - have, really - the courage
to pull the trigger--and find out if that would be a better way. She won't do it. She'll

jus' keep on.

Total time: 56"

36F. 13" This one I think -- her hmband just left her too, er no it's not 'er hmband,

it's her - her um - her married boyfriend. He finally got up the courage to
end it all, and she - she's tryin' to be brave and not call to 'im. She's got 'er hand on the
door but she won't. She pro - no, she probably will - call 'im--call 'im back. But right
now she's just fighting a - terrific battle with herself, t' keep herself from - from hollering
at 'im. --Trying to - show that she has a little pride. I don't think she has enough pride
to - y'know - withstand the temptation to call 'im back.

Total time: 60"

4. 7" This one - she's trying to tempt him to stay. An' he really knows he should
go home - but - he's fighting her, because he - he wants to go home to his
wife, but he's - been with this woman so many'times and so long, that he--it's almost like -
both of 'em have almost an equal hold on 'im. But she's evil, kind of. At least she--is
attempting to be right now, an' he's - there's kind of a haunted look in his eye, like - no
matter which way he goes, he's gonna be partially wrong.-- 'He's--l think he's gonna stay.
He'll just gradually - block his wife out for awhile. And then, y'know, later go home t'

her. Keep up with the same ol' - double thing.

Total time: 1' 5"

471

5. 32" There I go. (sigh).

43 " I think last time 1 - said this was a mother, who just came out, and caught
her - daughter - and boyfriend, making love on the couch, or something. ls (sigh) well,
this - woman doesn't look all that shocked this time as. . .(pause, 10") I think she's - she's
just hearing. She's - she's looking in but they don't see her, and she's hearing someone
discuss 'er. And - possibly discmsing the fact that--of her - daughter running around or
something. And she's just kind of stunned. . .But I don't - I don't really know - I don't
have any - that doesn't end. . .(voice trails off so softly last phrase was difficult to hear

and perhaps is transcribed incorrectly.)

Total time: 1'38"

6GF. 7" This is just an evil old man, tryin' to seduce a young girl. Tryin' t' - tryin'

t' get her to go with 'im - l drrn't know where they are -- in a modern
picture, they'd be in a bar. Here, I'm not sure where they are, but it's just - oh - old
fashioned-type deal w - of things we have today. Jmt has kind of an - evil grin on his
face. She's a true - pure young thing and she's shocked - shocked. N' she's about ready
to slap his face. N' she'll probably slap his face and tell 'im to get lost.

Total time: 55"

7GF. 10" This little girl just - some of 'er - supposed friends just told ' er - they

didn't want to play with 'er anymore. She looks like - the typical - hurt
child, y'know, she jus' - she's too young to realize - how mean - other kids can be, y'know,
kids who are - brought up a little bit differently than she is. She's - from an old fashioned
type home, '--you just don't say - mean things to one another. An' her mother's trying
to explain to her how - how people say things they don't really mean, even though, that's
not what - they're med to, that's how - a lot of the rest of the world lives. An' she's jus'
kind of - clinging to her doll like - that's the only thing she has left. But - y'know, her
ma's trying t' talk - tell her how - pretty soon her friends will come around and - they will -
and she'll be happy again, and she'll forget all about it, but right now she's jmt really -
really unhappy.

Total time: 1' 12"

472

8GF. 6" This is a girl n' -- just-out west, one of the early settlers, she's just sitting
on the front doorstep. Dreaming about how things are gonna be different.

Like - she looks like she's led a really hard life so for, but she's - hasn't lost hope of better

things. She's young, she's probably had a bunch of kids -- but she's - when'er she still

has the hope she'll be OK. The - even though she may never live - to see anything better -

she's still, y'know still got the hope in her eye t' - keep her goin' (Fame) She's -OK

(softly).

Total time: 55"

9GF. 11" These are twins - they're sisters (almost whispered). (E: "What's that?")
They're twin sisters. The one on the ground is really mean. The other one's jmt kind of
shy. Bashful . (Pause, 11") Like her sister's going - the - the mean one's going to meet
the man that the shy one loves, but the shy one is just - too shy to even stand up to 'er
and fight about, it, she's hiding behind a tree and watching 'er go, and she looks, you
know, like - completely unhappy, but she - still - won't stand up to 'er and - y'know,
tell 'er how she feels. So she'll jus' let the sister - the sister'll eventually drive this guy
back to the girl, I'm sure, because she looks too mean to get along with for any length of
time. But still it's y'know, said 'came, the other girl is just too - too afraid to uh, make
any attempt to keep 'im. She's jus' gonna let him go. He'll - probably come back to
'er later -- Maybe.

Total time: 1' 28"

10. (Sigh)
8" This is a - old couple who jmt - just lost their - I think their grandchild,
like - after their - they didn't have any of their own children left and 5-
this - one grandchild was like all they had. And he just died. They're just tryin' to
comfort each other. --They really - you can tell they really love each other and they'll -
they'll make it - together. But they - feel such a deep loss. Cause - this little kid is
part of 'em. And they won't - won't ever be the same again, but they'll - make it,

became they have each other.

Total time: 55"

At this point, further instructions are given for cards 11-20.

473

11. 11" It's hard to disregard reality - y'know that? At least it is for me. (very
softly).
23" This is at - this is - down - I'm not sure it it's hell or where, but it's -

beneath the surface of the early - earth anyway, and it's all steamy, an' there're jus'
treacherous little paths, wh - an' if you fall off, y'know, you jm' keep falling, for ever
an' ever. Somehow this man has - he has ' wandered - or he has been - trapped - down
there, and he knows there's - like he thinks this one way will lead 'im out, but it's like a
path so small it's gonna - y'know, be - really treacherom going. He's gonna try it anyway,
rather than jmt stay where he is. The - this is a really - weird - freaky place -- with
nothing concrete there, it's just all kind of - like you're afraid if you touch something,

it's just gonna - disappear. Only the - sheer cliffs are real, an' you never get out

(said very softly).
Total time: 1' 30"

I don't remember - do I have to go through all those? (Looking at cards still left.)

(E nods affirmatively.)

12F. 7" This is the conscience - not conscience, this is the evil conscience telling
this guy what t' do. (Fame, 19") My imagination just won't run (laugh).

(E: "It is harder at the end of the day. ") (Laugh) Especially this day (almost whispered).

(Fame) He looks like jus' such a - young - sweet thing. Innocent, I guess that's the word.

-And she's so mean and rotten looking - an' I just can't do this. (Fame, 19") Can I pass

on this one? (E: "OK")

Total time: 1' 25"

(E: "Give this one a try. ")

13MF. 4" OK. This is a nightmare. This guy doesn't know it, he's not really awake,

but he thinks he is. And he jmt - killed this girl who he loves. That -
'came he found out she'd been goin' out on 'im. But he's just - just standing there and he
doesn't know what to do he can't - can't move, he can't think, he can't do anything--He
(pause) he's gonna - grad a gun or something - and shoot himself, but before he dies, he'll
come to the realization that he was only dreaming - but he really killed himself. Like -
y'know, for real he killed himself, but he - mne of the rest really happened.

Total time: 54"

474

14. (Closes eyes)

28" This is like - a night gallery type of thing. An - behind 'im there's nothing

but blackness, but ahead of 'im there's - there's nothing - not even the

darkness. Jus' bright. Like the - the blackness is driving him iinSane because he can't see
anything, but - he really knows, deep down, there's gonna be nothing to see if he - if he
climbs through. --An he - the blackness has a - type of security, for 'im that the - the
bright light - won't have, and yet he's - just - curiom, and - tired enough of the blackness
to wanta - give it a try. He's about ready to climb out the window, but he's - l'ms sure
he'll be sorry. He'll try t' get back, but he can't. And this is his decision, he has t' make

it now, and it's gotta stick. --But --he's gonna climb out. It's. . .

Total time: 1' 35"

15. 12" Old man has just - come back to life. All he can think of is killing the man
who put him under. He looks like he's been dead for about a hundred years.
I can just picture all the - y'know, the terror this is - fairly olden times where - peiople
believe in ghosts, n' - n' they're gonna believe this guy, cause this guy really - y'know -
mess 'em up. He's gonna search a long way before he finds this man. H e'll kill a lot of
innocent people probably, on the way just by - scaring them to death. Right now he's jmt
standing there and - thinking of all the time he's been underground, and thinking of all

the other people that are still there. It's jmt a - weird picture.

Total time: 1' 4"
(E: "We're getting there. ")
Yeah, I think I should over here drunk. (Both laugh)

(Further instructions given for card #16.)

16. 13" I see a. . .(eyes closed)
38" I'm trying' to put in words what I see.---Some really messed up people.
Really--weird. Standing around in an apartment, trying to decide what
to do with their lives. There's a monkey, a bird, constantly making noise in the background.
lt's jus' such a - a horrible decision, you know? Jm' - to go or stay, or--or just, you
know, keep on not decinding, and it's hard to know which is worse to - to make the wrong

decision, or to just be - undecided, y'know. You don't know whether to jmt go this way,

475

or that way, or what. (Sigh.) Real nightmare. (Fame, 16") That's jus' it--end t' that
story.

Total time: 54"

17GF. 8" This is some kind ofa mill - I guess it looks like a feed mill, n' - 5' one

of the bosses standing up there, I think they have black slaves. Jm' -

 

y'know, standing there with a whip, ready to get 'em. They're loading things, they're

taking 'em some--it's some kind of illegal market or something, getting ready to load 'em.

 

The girl on the bridge -- is in love with this - slavedriver. And yet she knows what a -
truly horrible person he is. She's finally just realized it, and she's tryin' to decide, y'know,

keep on loving him, or turn 'im in right now before he came any more trouble. She's just -

like the sun is blotted out. Overhead, because — her heart is - just so heavy, y'know,

she's jus' not - aware of anything. An': this is a tryly (clears throat) dark day. She's -

she's gonna turn 'im in, I think, became she knows she can never really love a man knowing

-m - he was like that. --But I think at the same time, after she does it she's gonna jump

off the bridge.

Total time: 1' 44"

18GF. 9" This woman just - just strangled her hmband. He was weak enough so she
was able to do it. And now she's - she's still got her arms a - she's got her
fingers on his neck, but she doesn't --she can't - really believe or realize, y'know, that -
what she's done. An' she's just--standing there, you can - she really loves 'im, but she -
just - got so mad, she's gotten mad at him so many times, that - just all - built up inside
her and she jus' couldn't control it. She just' lost 'er head, but--she--| think she realizes
what she's done and she knows - she won't be able to live vri th - y'know-without him.

Probably turn around and shoot herself in the kitchen, or something. . .
Total time: 57"

(Telephone rings once.) Will you just ignore it? (E nods affirmatively.)

476

19. 15" This is a - some kind of a tugboat out in a - huge ice storm. I can see the

- there's still lights coming through the portholes, but --everything is get-
ting covered with ice, and they're still miles, and miles from anywhere, an' they're
never gonna - never ever gonna make it back. This thing keeps trying, its - taking on
and on more the resemblance of a whale, like y'know's - going--was a boat and now it's
just changing into - something that - belongs - in the ocean. An' the people inside'll
just be - y'know, transformed too, just is - changing - completely - kind of a y'know

weirdo thing, that - jus' can't explain. (Voice trails off at end.)

Total time: 1' 16"

20. 6" Here's the man in prison (very softly). --He can see the lights of the town
off in the distance. He's probably - he's not supposed to be out in the
yard after dark, he's supposed to be back in the cell block, but - he jus' can't resist
being as close as possible to - civilization and other - y'know, other people besides the
men in the prison. And he just - he's never gonna get out of there, probably, an' he
realizes this, but he just likes to stand there and think about, y'know, those that he's
med to hearing. He looks like he - he might decide that - y'know, he might as well
just - he knows if he hops on the wall, he's gonna get shot. An' he looks like he's just
low enough that he jmt might try it, y'know, just t'--jmt climb, and let 'em shoot 'im
down. I think--mm--(very softly). He's old. He's thinking about it, but he probably

won't. He'll just go back in, y'know, and jus' - jm' keep on, being lonely until he dies.

Total time: 1' 20"

HICHIGQN Srn

lljlljlllzlljjjjjjjjjjj’jjjjjjjjIjjm...

llll

Ill/ll

469