David the Dreamer: Extraordinary Philosophical 1922 Children’s Book Illustrated by Freud’s Nonbinary Niece Named Tom
The kind of book that reads you as you read it.
By Maria Popova
“The earth is heavy and opaque without dreams,” Anaïs Nin wrote in her diary before our nocturnal fancies became the subject of science — an inquiry catalyzed by the publication of Freud’s seminal 1900 book The Interpretation of Dreams, which the legendary psychoanalyst considered in part his “own self-analysis” and in which he declared that “the interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.”
Two decades later, humorist, essayist, and children’s poet Ralph Bergengren wrote David the Dreamer: His Book of Dreams (public library). This most unusual 1922 book is doubly notable for the absolutely striking illustrations by Austrian artist and writer Tom Seidmann-Freud — Sigmund Freud’s eccentric niece Martha, who at the age of fifteen took on a male name and began wearing men’s clothes long before “trans” became a common denomination, and who went on to be a visionary and exceptionally talented artist of the German Art Nouveau movement before committing suicide at the age of thirty-seven.
Several years before Seidmann-Freud authored her own visionary “interactive” picture-book, she illustrated Bergengren’s whimsical tale of an androgynous-looking little boy’s dream about his dog’s third birthday party — a choice especially curious given her famous uncle’s classic treatise, which paved the way for the contemporary study of the psychology of dreams.
David knew he was dreaming because he had on the white suit, very much like the Clown’s in the Circus, that he often wore in dreams, and never anywhere else. Fido was also dressed in a white suit, with neat ruffles around his legs, and the neatest ruffle of all around his tail. Fido always spoke doggerel in dreams, and David was not at all surprised when he said, jumping up and down and wagging his ruffled tail,
“This is a great day for me.
This is my birthday, you see.
Last year I was two,
And this year I am three.
And so what say you
To a birthday partee?”
Playful and whimsical as the story may be, running through it are also darker undercurrents of subtle philosophical lamentation — perhaps something that drew Seidmann-Freud to the story. Take, for instance, this passage touching on the various dimensions of losing control in life:
There is something very disorienting about being out of sight of land in a small boat, especially when you find out, with a sinking heart, that you don’t know which way to row to get home again. It is like getting lost anywhere else, only much worse; for there isn’t any Policeman or Kind Lady to help you, and, although a lot of people you don’t know all looking at you at once is bad enough, nobody at all looking at you makes you feel even more serious. Very-Little-David felt serious indeed… He told himself sensibly that it would do no good to cry, but he did cry. So there you are.
David the Dreamer is, alas, deeply out of print — a fact at once sad and unsurprising, for it is the kind of book you simply don’t see today: fabric-bound and kissed by gold leaf, utterly experimental and rather dark in sensibility, the kind of unclassifiable children’s-book-for-grownups for which contemporary commercial publishers seem to neither allocate the proper budget nor muster the proper bravery.
Perhaps Bergengren intuited this. In the third chapter of the book, titled “How a Book Read David,” the little boy comes to pear tree under which he finds “two very fine pears and a book.” But it isn’t any ordinary book — it’s responsive and alive:
The odd thing about this book was that when David began reading the book, the book began reading David… The letters ran around, and changed places, and many of them jumped off the book out of sight… It was a queer book. And another odd thing about it was the way the leaves left as soon as you had read them. When you started to turn a leaf over, it just disappeared. But there were always plenty of new leaves, so that it was the kind of book that would easily last you to read as long as you lived.
A century later, this gem of a book is as alive as ever to the private reader, even if commercially dead. It would take a rare and courageous publisher to reinstate its cultural aliveness with a reprint — here’s to hoping there are other bastions of books out there besides “mediocre ladies in influential positions.” (I, for one, believe there are.)
Published March 4, 2015