Cultic Studies Review, Vol. 9, No. 1, 2010, Page 73
(Henderson, 1964, p. 118). Karin will agree to have an affair with him, the first in a
marriage of 16 years, which she says is ―most unusually happy.‖ Bergman‘s deliberate
introduction at this point of ―David‖ is indicative of a catastrophic change occurring in
Karin‘s psyche, precipitated by her mother‘s death.
Bergman gives us a powerful symbol—her garden—to indicate characteristics of Karin‘s
psyche. David is now in her home, invited by her husband, Andreas, a surgeon:
‗The garden is our pride and joy,‘ says Karin in her best English to David.
‗We‘re both very fond of flowers, trees and shrubs,‘ Andreas adds, putting his
arms around his wife‘s shoulders. Andreas continues, ‗We work in the garden
every spare minute.‘ (Bergman, p. 11)
In one of the few direct criticisms of Karin by her husband (later in the story), he says, ―She
hates any form of decision‖ (Bergman, p. 39). As a wife and mother of two adolescents,
Karin and her family are stressed by the tasks of adolescent separation-individuation, by
which everyone is affected. Up until now, she has maintained a secluded, protected, and
routine life with her husband and children. Andreas makes the important decisions, while
Karin keeps the household running smoothly. Then she suffers the loss of her mother, and
into her ―Garden of Eden,‖ as restricted and limiting to consciousness as it might be, comes
David. Unsettling and chaotic forces come into play from within and without.
C.G. Jung (1976) writes directly to this problem:
Whoever protects himself against what is new and strange and regresses to
the past falls into the same neurotic condition as the man who identifies
himself with the new and runs away from the past. (p.10)
According to Jung, trust in nature and reliance on instinct are characteristics of a childlike
stage of consciousness. I believe cults appeal to a natural desire to remain in this stage,
and then place severe limitations on one‘s ability to grow out of it.
I was beginning to see the connection between Karin‘s relationship with her husband and
garden and my experience in my former marriage and Eckankar. I was becoming more
conscious of the infantilization that psychologically surrendering to the self-professed
―Godman‖ and living with my then husband entailed. I was gaining liberation from the
repression of anger and other emotions that became split off and compartmentalized in
Eckankar because the leadership considered them ―negative.‖ During my ―inactive status‖
and after my divorce, I began to take more risks by making more conscious decisions,
accepting more aspects of myself, expressing more emotions, becoming more assertive,
and taking charge of my life.
Bergman uses vivid imagery to disclose Karin‘s traumatic confrontation with David in a
scene that is pivotal to the story (Bergman, 1977):
So she does go after all, very upset and without really wanting to. When they
meet she is anxious and cold. The room has not been aired and stinks of stale
cigarette smoke. He is unshaven and only half-dressed, and reeks of liquor
and nocturnal terrors. He throws his arms around her and pulls her coat off.
She resists feebly, saying she has no time to stay. He mumbles something
she doesn‘t catch it sounds like a word of abuse. There is a short struggle
beside the unmade bed, he forces her down and starts tearing her clothes off.
Pale with rage and humiliation, Karin tells him to stop it, she‘ll undress
herself. She pulls off her pantyhose and brief, drags her skirt up, lies down on
the bed, and opens her legs. He climbs on top of her and thrusts into her
without kissing her or embracing her. She keeps her eyes shut tight and lets
him get on with it. He moans faintly and frantically he is tense and unfeeling.
(Henderson, 1964, p. 118). Karin will agree to have an affair with him, the first in a
marriage of 16 years, which she says is ―most unusually happy.‖ Bergman‘s deliberate
introduction at this point of ―David‖ is indicative of a catastrophic change occurring in
Karin‘s psyche, precipitated by her mother‘s death.
Bergman gives us a powerful symbol—her garden—to indicate characteristics of Karin‘s
psyche. David is now in her home, invited by her husband, Andreas, a surgeon:
‗The garden is our pride and joy,‘ says Karin in her best English to David.
‗We‘re both very fond of flowers, trees and shrubs,‘ Andreas adds, putting his
arms around his wife‘s shoulders. Andreas continues, ‗We work in the garden
every spare minute.‘ (Bergman, p. 11)
In one of the few direct criticisms of Karin by her husband (later in the story), he says, ―She
hates any form of decision‖ (Bergman, p. 39). As a wife and mother of two adolescents,
Karin and her family are stressed by the tasks of adolescent separation-individuation, by
which everyone is affected. Up until now, she has maintained a secluded, protected, and
routine life with her husband and children. Andreas makes the important decisions, while
Karin keeps the household running smoothly. Then she suffers the loss of her mother, and
into her ―Garden of Eden,‖ as restricted and limiting to consciousness as it might be, comes
David. Unsettling and chaotic forces come into play from within and without.
C.G. Jung (1976) writes directly to this problem:
Whoever protects himself against what is new and strange and regresses to
the past falls into the same neurotic condition as the man who identifies
himself with the new and runs away from the past. (p.10)
According to Jung, trust in nature and reliance on instinct are characteristics of a childlike
stage of consciousness. I believe cults appeal to a natural desire to remain in this stage,
and then place severe limitations on one‘s ability to grow out of it.
I was beginning to see the connection between Karin‘s relationship with her husband and
garden and my experience in my former marriage and Eckankar. I was becoming more
conscious of the infantilization that psychologically surrendering to the self-professed
―Godman‖ and living with my then husband entailed. I was gaining liberation from the
repression of anger and other emotions that became split off and compartmentalized in
Eckankar because the leadership considered them ―negative.‖ During my ―inactive status‖
and after my divorce, I began to take more risks by making more conscious decisions,
accepting more aspects of myself, expressing more emotions, becoming more assertive,
and taking charge of my life.
Bergman uses vivid imagery to disclose Karin‘s traumatic confrontation with David in a
scene that is pivotal to the story (Bergman, 1977):
So she does go after all, very upset and without really wanting to. When they
meet she is anxious and cold. The room has not been aired and stinks of stale
cigarette smoke. He is unshaven and only half-dressed, and reeks of liquor
and nocturnal terrors. He throws his arms around her and pulls her coat off.
She resists feebly, saying she has no time to stay. He mumbles something
she doesn‘t catch it sounds like a word of abuse. There is a short struggle
beside the unmade bed, he forces her down and starts tearing her clothes off.
Pale with rage and humiliation, Karin tells him to stop it, she‘ll undress
herself. She pulls off her pantyhose and brief, drags her skirt up, lies down on
the bed, and opens her legs. He climbs on top of her and thrusts into her
without kissing her or embracing her. She keeps her eyes shut tight and lets
him get on with it. He moans faintly and frantically he is tense and unfeeling.
