Throughout this book, the intention of which is to examine the role played by literature in Freud's creation, presentation, and development of psychoanalysis, my approach to his works will essentially be that of a literary critic. For this reason I shall not be aiming to make definitive pronouncements on the truth value of psychoanalysis, nor shall I address – at least, not explicitly – the various contemporary debates about the scientific and philosophical credentials of psychoanalysis, such as the feminist critique of Freud's patriarchal and phallocentric assumptions, for example, or the contentious issues involving memories of abuse recovered during therapy. Such omissions do not, of course, imply an imperious rejection on my part of the validity of these debates. In one respect, they correspond merely to a narrowing of focus that is essential when dealing with such a wide – and heavily trod – field as psychoanalysis. More importantly, they are a necessary corollary of my treatment of Freud's work not as a body of knowledge, but as a body of writing. I shall concentrate on analysing Freud's texts as texts – their rhetoric and imagery, their inner tensions and subtexts, their sources, their cultural background, and so on. Indeed, it is by focusing so intensively on the precise texture of Freud's works and, in particular, on his literary preoccupations and assumptions, that I hope to shed light on his creation of a new ‘science’ from some unexpected angles.