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“Milner has historically been constructed as a subsidiary figure to D.W. Winnicott
within the British Independent Group. She is however a very important figure
within early- to mid-twentieth century psychoanalysis. This book provides a
concerted, careful and theoretically-engaged analysis of Milner. It is an original
work that stands to make a substantial contribution to the field of psychoanalytic
studies, literary studies, and twentieth-century cultural history.”
—Jo Winning, Professor, Birkbeck, University of London, UK
The Marion Milner Method

This book traces the development of British psychoanalyst Marion Milner’s

(1900–98) autobiographical acts throughout her lifetime, proposing that Milner
is a thinker to whom we can turn to explore the therapeutic potentialities of
autobiographical and creative self-expression.
Milner’s experimentation with aesthetic, self-expressive techniques are a
means to therapeutic ends, forming what Emilia Halton-Hernandez calls her
“autobiographical cure.” This book considers whether Milner’s work champions
this site for therapeutic work over that of the relationship between patient and
analyst in the psychoanalytic setting. This book brings to light a theory and practice
which is latent and sometimes hidden, but which is central to understanding what
drives Milner’s autobiographical work. It is by doing this work of elucidation and
organisation that Halton-Hernandez finds Milner to be a thinker with a unique
take on psychoanalysis, object relations theory, creativity, and autobiography,
working at the interstices of each.
Divided into two fascinating sections exploring Milner’s distinctive method
and the legacy and influence of her work, this book will appeal to psychoanalysts,
art therapists, philosophers, and art and literary researchers alike.

Emilia Halton-Hernandez is Lecturer in the Department of Psychosocial

and Psychoanalytic Studies at the University of Essex. She has written on
psychoanalysis, the infant mind, visual art, and literature. She lives in Brighton
and London, UK.
The Marion Milner Method

Psychoanalysis, Autobiography,
Creativity

Emilia Halton-Hernandez
Designed cover image: “Self-Portrait” by Marion Milner. By
permission of The Marsh Agency Ltd., on behalf of The Estate
of Marion Milner.
First published 2023
by Routledge
4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an informa
business
© 2023 Emilia Halton-Hernandez
The right of Emilia Halton-Hernandez to be identified as author
of this work has been asserted in accordance with sections 77
and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted
or reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from
the publishers.
Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identification and
explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library

ISBN: 978-1-032-28407-1 (hbk)

ISBN: 978-1-032-28295-4 (pbk)
ISBN: 978-1-003-29672-0 (ebk)
DOI: 10.4324/9781003296720

Typeset in Times New Roman

by Apex CoVantage, LLC
Contents

List of illustrations viii

Acknowledgements ix

Introduction 1

PART 1
The Milner method23

1 A Life of One’s Own and the birth of a diary keeping

method to rival psychoanalysis 25

2 On Not Being Able to Paint and drawing and painting

for psychoanalysis 57

3 Bothered by Alligators and compensating for the failures

of a “couch analysis” 93

PART 2
The Milner tradition121

4 Tracing Milner’s influence in the twentieth century 123

5 Milner in the comic frame: Lynda Barry and Alison

Bechdel’s autobiographical cures 151

Conclusion: in search of legibility? 174

Index 179
Illustrations

0.1 “The Hens” by Marion Milner. 5

0.2 Linocut by Marion Milner, 1960. 7
2.1 “Horrified Tadpole” by Marion Milner. 63
2.2 “Two Jugs” by Marion Milner. 67
2.3 Ruth’s drawing in “The Communication of Primary Sensual
Experience” (1955). 77
2.4 Susan’s “The Post-E.C.T. drawing.” 82
2.5 “Bursting Seed-pod” by Marion Milner. 89
3.1 “The Green Baby” by Marion Milner. 100
3.2 Photo of a selection of Marion Milner’s clay heads in Giles
Milner’s personal collection. Titles and dates unknown. 101
3.3 Page from John Milner’s story-book. 103
3.4 “At Royal Free July 95” by Marion Milner. 114
3.5 “Chaos” by Marion Milner. 115
4.1 Marion Milner’s copy of “Christ Blessing Job and his wife.” 129
4.2 Marion Milner’s copy of the “The God of Eliphaz.” 130
5.1 Lynda Barry’s What It Is. 152
5.2 Alison Bechdel.  171
6.1 Document by Marion Milner. 176
Acknowledgements

Firstly, I am grateful to Giles Milner for graciously allowing me access to his fam-
ily’s collection of Milner’s art, and for sharing with me his personal recollections
of his grandmother. My thanks to Ewan O’Neill at The British Psychoanalytical
Society Archive and the archivists at the Wellcome Collection for their assistance
with archival research. I would like to extend my gratitude to The Marsh Agency
on behalf of The Marion Milner Estate, Lynda Barry, and Riva Lehrer for gener-
ously allowing me to reproduce a number of their images and quotes in this book.
I owe a special thanks to Vicky Lebeau for her support and assiduous and
thoughtful feedback on the many drafts of this book. My thanks also to Jo Win-
ning, Hope Wolf, and Helen Tyson and the anonymous reviewers whose insights,
suggestions, and perceptive comments have helped develop this project. Thank
you to my colleagues at the University of Sussex for their unwavering support
throughout the various stages of researching and writing: Laura Gallon, Di Yang,
Aanchal Vij, Yuri Enjo, Elle J Whitcroft, Shalini Sengupta, and Hannah Davita
Ludikhuijze.
I am grateful to the editorial and production staff at Routledge, especially Zoe
Meyer and Jana Craddock for their expertise and guidance throughout the publi-
cation process.
Lastly, my deepest thanks to my parents, my sister, and Angus. Thank you for
being there for me, and with me, in so many ways, and for making this book a
possibility.
Introduction

This book’s cover image is a self-portrait painted by the British psychoanalyst

and author Marion Milner. Dressed in the painter’s archetypal blue smock, at
easel and with palette and brush at hand, Milner rests her gaze intently on the
canvas as the viewer catches her in the act of creation. The painting is undated
but, given the subject’s youthful appearance, was likely created during Milner’s
younger years—just one iteration of the many acts of self-representation Milner
produced over her lifetime across different media. This self-portrait, however, is a
rare instance of a figurative, naturalistic self-portrayal. Milner’s autobiographical
books, published throughout her lifetime, involve a sustained dedication to repre-
senting the vistas and contours of the inner world, rather than those of the exter-
nal. And if in this self-portrait Milner’s brush strokes on her canvas are obscured
from our view, visible only to the painter herself, Milner’s autobiographical books
reveal to her readers in careful detail the marks she makes in order to capture an
inner life. In continuity with the rest of her work, however, this self-portrait is a
representation of a subject immersed in the throes of creativity and self-depiction.
Here is a portrait of the artist as a young woman, and as this study will examine,
it is also the portrait of a psychoanalytic thinker exploring the site of creative
expression for therapeutic self-transformation.
This book traces the development of Marion Milner’s autobiographical acts
throughout her lifetime, as expressed in her published work and in work now
contained in her archives. It proposes that Milner is a thinker to whom we can
turn to explore the therapeutic potentialities of autobiographical and creative self-
expression. Specifically, this book draws out the ideas of a psychoanalytic thinker
whose work proposes that autobiographical acts can provide an equivalent nurtur-
ing and attuning function to what object relations theorists understand the mother
and analyst as providing infant and analysand. Milner’s autobiographical books:
A Life of One’s Own (1934), An Experiment in Leisure (1937), On Not Being Able
to Paint (1950), Eternity’s Sunrise: A Way of Keeping a Diary (1987), and the
posthumously published Bothered by Alligators (2013) are read as constituting
a life-long engagement with the development of a therapeutic practice located at
the site of creative self-reflection.1 One of the questions this study asks is whether

DOI: 10.4324/9781003296720-1
2 Introduction

Milner’s work champions this site for therapeutic work over that of the relation-
ship between patient and analyst in the psychoanalytic setting.
Milner’s work does not present itself as a unified metapsychology, cohesive
theory, or methodology. Unlike Sigmund Freud’s deliberate efforts to present psy-
choanalysis as a distinctive science, with foundational axioms, metapsychological
theories, and clinical data, Milner’s autobiographical books present a loose set of
terms and methods that emerge out of the work recorded in them, and which occa-
sionally, though not always, make the crossover into her published theoretical
and clinical psychoanalytic papers and books. It is the aim of this study, however,
to bring to light a theory and practice which is latent and sometimes hidden, but
which is central to understanding what drives her autobiographical work. It is by
doing this work of elucidation and organisation that this study finds Milner to be
a thinker with a unique take on psychoanalysis, object relations theory, and auto-
biography, working at the interstices of each. Her experimentation with aesthetic,
self-expressive techniques are a means to therapeutic ends, forming what I am
calling her “autobiographical cure.”
Milner’s autobiographical books are difficult to define generically, since they
are not autobiographies in the traditional sense of the term. In general, they pro-
vide very little factual detail about a life lived out in the world, and the events
that form it. I understand these books as commonly defined by an experimen-
tation with different forms of autobiographical acts for the purpose of gaining
self-insight and promoting self-development. They explore various mark-making
techniques that might make the inner world better known, visible for observation,
and ripe for analysis. They are all written with a reader in mind, who is invited to
witness Milner’s own methods for transformation, and in doing so, might want to
follow her lead and engage in a similar undertaking of their own. Characterising
her books as self-help handbooks with a prescriptive method for the reader to fol-
low, would, however, be misleading. Milner serves instead as a kind of example
to those like herself who might learn from her strategies for self-transformation.
Broadly speaking, A Life of One’s Own (1934), An Experiment in Leisure
(1937), and Eternity’s Sunrise: A Way of Keeping a Diary (1987) engage with
written autobiographical acts in the form of free associative writing experiments
and diary keeping. On Not Being Able to Paint (1950), as its title suggests, dedi-
cates itself to forms of visual mark-making—painting, drawing, and doodling.
Milner’s final book, written up until the last days of her life in 1998, Bothered
by Alligators (2013), engages with all of these aesthetic acts and more, includ-
ing the making of collages out of her old paintings. These books are written and
published before, during, and after Milner’s long career as a full-time practicing
psychoanalyst and active member of the British Psychoanalytical Society.
Milner’s work has enjoyed something of a resurgence in the last decade, thanks
in particular to Emma Letley’s biography Marion Milner: The Life (2014) and her
work commissioning new editions of Milner’s books with Routledge (2011–13).
Milner’s books have experienced a somewhat chequered publication history: An
Experiment in Leisure was blitzed out of print during the Second World War, and
 Introduction 3

for some time A Life of One’s Own and An Experiment in Leisure were published
under the penname of Joanna Field, driving at times a disconnect between Milner
and her works.2 Routledge’s new editions offer the reader a renewed examina-
tion of Milner’s work, with introductions by cultural, literary, and psychoanalytic
critics including Rachel Bowlby, Maud Ellmann, Janet Sayers, Adam Phillips,
Hugh Haughton, and Margaret Walters. More recently, Critical Quarterly pub-
lished a special issue “Marion Milner: Modernism, Politics, Psychoanalysis” in
2021 which includes an interview with Adam Phillips and my article on Milner’s
engagement with the work of artist and poet William Blake: “ ‘A poet of human
nature’: Marion Milner’s William Blake.” At the time of writing, The Marion
Milner Tradition (part of the Lines of Development Series published by Rout-
ledge) edited by Margaret Boyle Spelman and Joan Raphael-Leff is forthcoming
(November 2022) and promises discussion of Milner’s work from a range of clini-
cians and thinkers.
Milner has historically been constructed as a subsidiary figure to Winnicott
within the British Independent Group, and critical engagement with both her psy-
choanalytic practice and theory, as well as her autobiographical practice as an
author and a painter, has been limited. The emergence of new scholarly writing
on Milner’s work has gone some way towards cementing her legacy as an impor-
tant contributor to psychoanalytic thought in her own right, granting her attention
in the twenty-first century by scholars in psychoanalysis, but also such fields as
literature, modernist studies, art history, life writing, and autobiography studies.
The variety and range of scholarly attention Milner’s work has inspired has I think
much to do with the unusual heterogeneity of her work and thinking.
This book seeks to make its own contribution by engaging with Milner’s dis-
tinctive search for a therapeutic cure that takes place in the relationships between
pen and paper, paint and canvas. In so doing, we are introduced to a thinker dedi-
cated to a distinctive version of object relations theory, one that attends to the
relational inner world of the writer and artist.

The life
Marion Milner, née Nina Marion Blackett, was born in London on 1 February,
1900, to a middle-class English family. Her father, Arthur Blackett, worked for
some time on the London Stock Exchange as a stock jobber, though as a “dreamy
Victorian Romantic” with a love for nature and poetry, he was suitably unsuited
for a city job (Patrick Blackett qtd. in Letley 2). Milner’s mother, Caroline May-
nard, was also interested in the arts and descended from a pioneer in the field of
education—her mother Constance Maynard was one of the first female under-
graduates admitted to Girton College, Cambridge, and became the head of West-
field College, University of London from 1881–1913. Milner had two siblings, an
older sister Winifred with whom she was not particularly close, and a preferred
older brother, Patrick Blackett who went on to win a Nobel Prize in Physics in
1948. Illustrious achievements were also accompanied, however, by a difficult
4 Introduction

home life. Arthur and Caroline’s marriage was not a particularly happy one, and
in 1911 when Milner was eleven years old, her father, to whom Milner was greatly
attached, suffered a mental breakdown.
Milner’s earliest form of autobiographical writing was a nature diary, which
at the age of eleven, was likely influenced by her father’s naturalist bent and
their frequent excursions into the English countryside. Her diary entitled “Mollie
Blackett’s Nature Diary” after her family nickname, records the sights and sounds
of the natural world in careful detail, an early display of Milner’s powers of obser-
vation that she would later turn to good account in chronicling observations on
herself and her inner life.3 At seventeen Milner was forced to leave the Godolphin
boarding school in Wiltshire due to lack of family funds to pay for a sixth form
education. She turned to tutoring a seven-year-old boy in reading, an experience
that introduced her to the ideas of Montessori and the importance of play in learn-
ing. Following this she began training at a Montessori nursery school training
college, but this experience was short lived; a year later she enrolled in an under-
graduate degree in psychology and physiology at University College, London. It
is here that Milner first encountered the ideas of Sigmund Freud in lectures com-
paring the physiologist Charles Scott Sherrington’s descriptions of the functions
of the nervous system with Freud’s principles of unconscious functioning. At this
time, her brother Patrick also gave her a copy of Freud’s Introductory Lectures
on Psychoanalysis, though at this point in her education Milner admits to having
been more taken by physiology than with psychoanalysis (HOLG xli). Following
her studies, for which she received a first-class degree in 1923, Milner went on to
work with the educational psychologist Cyril Burt, followed by a Laura Spelman
Rockefeller Scholarship from 1927–28 studying under the Australian psycholo-
gist, Elton Mayo in Boston, USA. It is in Boston that Milner also had her first,
albeit short, experience as a patient of talking therapy with the American analyst
Dr Ira Putnam.
When Milner decided to undertake a psychoanalytic training in 1939, she
already had a successful career as an industrial psychologist, had married play-
wright Dennis Milner, and was mother to a son, John. She had also undergone
a period of analysis with a Jungian analyst back in England, had published two
autobiographical books—A Life of One’s Own (1934), and An Experiment in Lei-
sure (1937), and written a book about research on the education system in a girl’s
school, The Human Problem in Schools (1938) for the Girls Public Day School
Trust (GPDST). Milner describes in detail her journey to eventually training to
become a psychoanalyst at the Institute of Psychoanalysis in London in 1939, and
qualification four years later in 1943, in the Preface to The Hands of the Living
God: An Account of a Psycho-analytic Treatment (1969).4 She attributes her deci-
sion to “begin a Freudian analysis with Sylvia Payne, and in 1939 to apply for
and be accepted by the British Psycho-Analytical Society” to hearing “a public
lecture, in 1938, by D.W. Winnicott” (Milner, HOLG xlvi). Winnicott would later
become a close colleague of Milner’s and her analyst for a period of around four
years. Milner also undertook her training analysis with Sylvia Payne, and after
 Introduction 5

the analysis with Winnicott, was a patient of the Kleinian Canadian analyst, Clif-
ford Scott. In the course of her training and post qualification work she received
clinical supervision for her work with patients from Melanie Klein, Joan Riviere,
and Ella Sharpe, all significant figures in the British Psychoanalytic Society at the
time.
Milner’s thinking and her professional alliances were, and still are, most associ-
ated with the British Independent Group, or the Middle Group, that emerged out of
the wartime Controversial Discussions. These heated disputes arose within the soci-
ety between Melanie Klein and Anna Freud about early infantile mentation, clinical
technique, child development, and Freudian apostasy. The Independent Group, as
its name implies, saw itself as non-aligned, taking on the role of ad hoc moderators
for the two factions. Along with Milner, its members would come to include figures
such as Sylvia Payne, Ella Sharpe, Donald Winnicott, and Michael Balint.
After Milner’s death in 1998, close friend and cultural critic Margaret
Walters describes the impression made on her by one of Milner’s paintings
hung in her house in Provost Road (Figure 0.1), and how well it symbolised

Figure 0.1 “The Hens” by Marion Milner. Giles Milner’s personal collection.
Source: By permission of The Marsh Agency Ltd., on behalf of The Estate of Marion Milner.
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