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Mental Radio, by Upton Sinclair, [1930], at

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The person whom we are subjecting to this process of psychoanalysis has a strong color sense, and wanted to be a painter. So we note that she "gets" colors and names them correctly. Here is my drawing of what I meant to be a bouquet of pink roses (figs. 46, 46a):

Fig. 46, Fig, 46a

Or take this case of a lobster. Craig's comment was: "Gorgeous colors, red and greenish tinges." Apparently I had failed to decide whether I was drawing a live lobster or a boiled one! My wife wrote further: "Now it turns into a lizard, camelian ['Chameleon,' see above—JBH], reds and greens." When

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she sees this about to be made public, she is embarrassed by her bad spelling; but she says: "Please do not overlook the fact that a chameleon is a reptile—and so is a lobster." I dutifully quote her, even though her zoology is even worse than her spelling! (figs. 47, 47a):

Fig. 47, Fig. 47a

While we are on the "reptiles," I include this menacing crab, which may have got hold of little Mary Craig's toe on the beach of the Mississippi Sound (fig. 48):

Fig. 48

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For the crab, Craig made two drawings, on opposite sides of the paper (figs. 48a, 48b):

Fig. 48a, Fig. 48b

The comments on the above read: "Wings, or fingers—wing effect, but no feathers, things like fingers instead of feathers. Then many little dots which all disappear, and leave two of them, O O, as eyes of something." And then, "Streamers flying from something."

Another color instance: I drew the head of a horse, and Craig drew a lot of apparently promiscuous lines, and at various places wrote "yellow," "white," "blue," "(dark)," and then a general description, "Oriental." Afterwards she said to me: "That looks like a complete failure; yet it was so vivid, I can't be mistaken. Where did you get that horse?" Said I: "I copied it from a Sunday supplement." We got the paper from the trash-basket, and the page opposite the horse contained what Craig described.

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We shall note several other cases of this sort of intrusion of things I did not draw, but which I had before me while drawing.

Also anything with metal or shine seems to stand a good chance of being "got." For example, these nose-glasses (figs. 49, 49a):

Fig. 49, Fig. 49a

The comment reads: "Opalescent shine or gleam. Also peafowl."

Or again, a belt-buckle; my wife writes the word "shines" (figs. 50, 50a):

Fig. 50, Fig. 50a

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Or this very busy alarm clock—she writes the same word "shines" (figs. 51, 51a):

Fig. 51, Fig. 51a

She has got at least part of a watch whenever one has been presented. You remember the one Bob drew (fig. 17). There was another in series thirty-three; Craig made a crude drawing and added: "Shines, glass or metal" (figs. 52, 52a):

Fig. 52, Fig. 52a

Also, on the automobile ride to Pasadena, series three, there was a watch-face among the drawings, and Craig drew the angle of the hands, and added the words, "a complication of small

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configurations." Having arrived in Pasadena, she took the twelve drawings and tried them over again. This time, of course, she had a one in twelve chance of guessing the watch. She wrote: "A white translucent glimmering, or shimmering which I knew was not light but rather glass. It was like heat waves radiating in little round pools from a center. . . . Then in the center I saw a vivid black mark. . . . So it was bound to be the watch, and it was."

And here is a fountain. You see that it appears to be in a tub, and is so drawn by Craig. But you note that the "shine" has been got. "These shine!" (figs. 53, 53a):

Fig. 53, Fig. 53a

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Another instance, even more vivid. I made a poor attempt to draw a bass tuba, as one sees them on the stage—a lot of jazz musicians dressed up in white duck, and a row of big brass and nickel horns, polished to blind your eyes. See what Craig drew, and also what she wrote (figs. 54, 54a):

Fig. 54, Fig 54a
Fig. 54, Fig 54a

The comments, continued on the other side of the sheet, are: "Dull gold ring shimmers and stands out with shadow behind it and in center of it. Gleams and moves. Metal. There is a glow of gold light, and the ring or circle is out in the air, suspended, and moves in blur of gold."

You see, she gets the feeling, the emotional content. I draw a child's express-wagon, and she writes: "Children again playing but can't get exactly how they look. Just feel there are children." Or take this one, which she describes as "Egyptian." I don't know if my pillar is real

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[paragraph continues] Egyptian, but it seems so to me, and evidently to my wife, for you note all the artistry it inspired (figs. 55, 55a):

Fig. 55, Fig. 55a

Sometimes Craig will embody the feeling in some new form of her own invention; as for example, when I draw an old-fashioned cannon on wheels, and she writes: "Black Napoleon hat and red military coat." I draw a running fox —well drawn, because I copy it from a picture; she rises to the occasion with two crossed guns, and a hunting horn with a lot of musical notes coming out of it (figs. 56, 56a):

Fig. 56, Fig. 56a

I draw an auto, and she replies with the hub and spokes of a wheel. Not satisfied with this,

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she sets it aside, and tries again a little later—without looking at the original drawing—and this time she produces a horn, with indication of a noise. I give both her drawings, which are on two sides of the same slip of paper (figs. 57a, 57b):

Fig. 57a, Fig. 57b

Next: Chapter XIV