Although Lohser and Newton do not discuss it, one wonders, on the basis of these case presentations, to what extent Freud was imbued with what Ortega y Gasset (3) described as "contempt for the old monumental forms of the soul" in pursuit of an "inhuman attention to the microstructure of sentiments, social relations, [and] characters" so prevalent in the arts, music, and literature of the early twentieth century. This might explain Freud's brushing aside, for example, a patient's need to be thought well of by the great master and why, 30 years later, a new, reactive school of psychoanalysis would seek to patch up a patient's wounded "narcissism." In any case, Freud's deconstructivist tendencies were clearly in evidence long before they became embodied in his "final technique." An example of this was his battle cry, "Flectere si negueo superos, Acheronta movebo" (If I cannot bend the gods on high, I will at least set Acheron in uproar)," from the title page of Interpretation of Dreams. Certainly, Freud's heavy reliance on free association and dream interpretation, methods that the authors underscore, tended to bring the outskirts of subjectivity—the small, absurd, self-mocking, and confusing events of life—to center stage in his analytic procedure.