Analysis for Emceekay, 24 March 1999

This is how you described the room:

The room is a cavern of cold emotion; blues and greys assault the walls and the light is that of a Siberian morning. The only furnishings are the ones I can see in my head, and I recognize this place to be my own personal hell.

The initial room is the subject’s childhood. What interests us here is the general atmosphere of the room, in addition to the level of furnishings described by the subject. A very uncomfortable room suggests a highly traumatic childhood. No furnishings at all tells of either a complete absence of memories from that time or active suppression of said memories.

You wanted to stay in the room.

The subject did not want to grow up.

This is how you described the forest:

The forest is a frozen collection of Popsicle sticks. The trees are tall and stubbly and the needles rain down upon me like a tropical storm. Though they were once undoubtedly lush, the trees are now nearly barren and the Siberian light from the room extends to this forest, leaving me awash in its icy stare.

The forest is growing up, and the trees are those adults with whom the subject interacted at that time. Stunted, damaged, or absent trees imply a dearth of adult interaction with the subject.

This is how you described the path:

A pencil-thin path leads me into this forest. It is flanked by hardened planks of ice and snow and any deviation from the path would undoubtedly lead one forever sliding on its slightly-sloped surface. I cannot tell how well-travelled it is, though I doubt many could navigate it successfully.

Adolescence is represented by the path through the forest. Poor visibility of the path tells us the subject was often confused by the changes brought on by adolescence. A narrow path suggests that the subject had limited options for emotional growth at this time. The lack of evidence of fellow travelers suggests strong feelings of isolation at that time. Lots of obstructions on the path indicate many problems during adolescence.

This is how you described the water:

I am surprised when I come upon a tiny river, given the frozen landscape around me. The river is little more than a trickle of heavenly tears as it shimmers gloriously in the light. It seems decidedly unnatural, given my surroundings, though no one but God could make something so beautiful. The water is cool, crisp, and refreshingly clean.

The water is the subject’s sexuality. What interests us here is the clarity of the water (representing attitude) and its movement (representing libido). The movement of the water suggests a normal, average if somewhat playful sex drive. Clear water tells us that the subject has no issues regarding sex.

When you came to the water, you crossed it.

The subject is open to new sexual experiences.

This is how you described the cup:

A crudely fashioned mug lies abandoned on the bank of the river. It stands out against the winter-whiteness of the scene. Dirt caked at the base of the mug slips onto the ground and creates a dome-like mound.

The vessel, or specifically the practicality of the vessel, is how the subject approaches marriage or bonding. A practical container indicates that the subject is pragmatic when it comes to questions of marriage.

You left the cup behind.

The subject is not interested in marriage.

This is how you described the key:

The key I find straddling the tightrope-ness of the path is, like the mug I left behind, rough-hewn and weathered. It looks like the key to a grand chest or the door of the shack of a giant. Inscribed are the the letters "FLG" and it is made of dulled bronze.

The key is the ideal career for the subject. What interests us here is how the key appears (representing how others view the career) and what it may open (representing the subject’s goals for the career). Magical or fantastic keys suggest that the subject has unreasonably high expectations of what will result from a career. Old-fashioned keys suggest that the subject desires a traditional career.

You confronted the bear.

In a crisis, the subject prefers the direct, no-nonsense approach.

When you came to the wall, you jumped over it.

The wall represents death: by jumping over it, the subject not only acknowledges death but has come to accept its finality.