Beveridge reveals, with depth and clarity, Laing's influences inside psychiatry and beyond. He points out that, in writing The Divided Self, Laing “used everything he gleaned from his voracious reading, and this included not only existential philosophy, but also psychoanalysis, sociology, and literature” (p. 108). We learn that Laing was greatly influenced by Freud but highly critical of the Freudian interpretation of psychotic symptoms. He preferred to listen to what the patient actually said, not to translate it through psychoanalytic interpretations. Laing was very sympathetic to Bleuler's view that schizophrenia was ultimately understandable, and he judged other clinicians by whether they agreed with that precept. In constructing his view of the self in The Divided Self, Laing drew heavily upon object relations theory. Although the major exponents of this approach, Klein, Winnicott, and others, worked and taught at the Tavistock, Laing claimed that he had written The Divided Self before he ever went to London and that his “false self” theory was not much influenced by Winnicott. Beveridge also reveals the influence of the arts on Laing, including the work of figures such as Blake, Dostoyevsky, Chekhov, Kafka, and Camus.