Academics, analysts and artists are gathered together in this illustrated volume, which celebrates the culmination of a two-year project at the Institute of Germanic & Romance Studies to discover and debate current issues in psychoanalysis in the arts and humanities across five language-fields in Europe and beyond. The twenty-four essays include surveys of psychoanalytic thought in areas speaking French, German, Italian, Portuguese and Spanish; the work of eight artists, ranging from found objects in Marseilles or the figure of Gradiva on a man-hole cover to the life of Le Corbusier, the lightest object in the world and words on a glass wall; and eight academic essays, including studies of humour in child therapy, Freud in Argentina, sibling trauma in the Schreber family and psychoanalysis in the university curriculum.

The fifth instalment of Prototype's annual anthology: a space for new work, open to all and free from formal guidelines or restrictions. Poetry, prose, visual work and experiments in between. With contributions by Alex Aspden, Ed Atkins & Steven Zultanski, Mau Baiocco, Claire Carroll, Hal Coase, James M. Creed, Iulia David, Nia Davies, Fiona Glen, Olivia Heal, Emma Hellyer, Hannah Hutchings-Georgiou, Rowe Irvin, Sasja Janssen (trans. Michele Hutchison), Bhanu Kapil, Sharon Kivland, Jeff Ko, Prerana Kumar, Grace Connolly Linden, Dasha Loyko, Nasim Luczaj, Ian Macartney, So Mayer, Catrin Morgan, Ghazal Mosadeq, Kashif Sharma-Patel, Helen Quah, Dipanjali Roy, Leonie Rushforth, Stanley Schtinter, Lutz Seiler (trans. Stefan Tobler), Madeleine Stack, Malin Stahl, Corin Sworn, Olly Todd, Yasmin Vardi, Kate Wakeling, Nathan Walker, Ahren Warner, Stephen Watts & Rojbin Arjen Yigit

"I wrote five days a week for a year, no more than a page, writing only for the length of the analytic hour, fifty minutes, following Freud's model of train travel for his theory of free association, acting 'as though, for instance, [you were] a traveller sitting next to the window of a railway carriage and describing to someone inside the carriage the changing views [...] outside'. Many of my women character's names begin with A: their first names; there are few surnames, save those of the secondary male characters. . Some of these women exist or existed, others are from fiction, or write fiction. Some are friends or acquaintances. None are credited but a keen reader could recognise many of them. I invented nothing. I am the aleph."