Analysis for Aaron Shores, 29 September 2000

This is how you described the room:

The room is warm. Perfectly warm, so so that I don't even notice the temperature. I'm sitting on a very familiar couch that I can't place anywhere else. A glass wall separates me and one of my favorite teachers. Next to me is a close friend, and in front: A love wish.

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. Note the extremely inviting surroundings of the room. This suggests a childhood filled with joy. The glass wall is an interesting addition, but is such a blatant attempt at symbolism as to render it pointless. Perhaps all the grandiloquent icons indicate a regret about having an insubstantial childhood?

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 thick and lusciously green. I can not see past five feet from the path. I am scared, but somehow know that I will be all right. The path curves and winds through the woods. I do not know where I will end up.

The forest is growing up, and the trees are those adults with whom the subject interacted at that time. Average-sized trees imply the normal influence adults have on a child: neither insignificant nor impressive. A very dark forest tells us that the subject felt considerably oppressed by the attentions of the adults.

This is how you described the path:

The path is clearly defined in the forest. It is almost as though there is a distinct wall between the dirt road and the wall of trees to either side. It seems as though it would be well travelled, but the lack of other people or civilization would indicate otherwise.

Adolescence is represented by the path through the forest. The visibility of the path tells us that the subject had a good idea of what to expect from adolescence. The lack of evidence of fellow travelers suggests strong feelings of isolation at that time. That the path is free of obstructions indicates that the subject had no problems during adolescence.

This is how you described the water:

The water is clearly a man-made pool. It is a finely crafted stone fountain made of the whitest granite I've ever seen. The spray of water shoots high into the air. Only to land in a tiered system and flow miraculously into the main body of water. The water is the clearest I've ever seen. Almost impossible. Somehow, I know that no human should enter the water.

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. Note the forbidden nature of entering the water, with respect to the next section of the test.

When you came to the water, you went around it.

The subject is not interested in new sexual experiences.

This is how you described the cup:

The vessel is a horn. it is made of leather, and is well used. It has a single strap that drapes over the side of the fountain.

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 is an old-fashioned type skeleton key. it is well kept and not rusted. its simplicity

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). Versatile keys tell us that the subject has numerous but unfocused expectations about 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.