The Angel at the Gate

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I was approached by Father Joseph Marsden, a year or so before his death in June 1981, to analyse and interpret the automatic writing of his secretary and patient Mary Stella Holiday, an assumed name we adopted to avoid embarrassment for the person concerned. I worked on The Angel at the Gate under his supervision and had virtually finished the book when he collapsed and died suddenly.

The materials with which I worked were drawn not only from automatic narratives but also from notes Marsden had compiled in conversation with Mary Holiday. Some of these conversations were conducted under hypnosis.

There was a series of underlying rhythms in the automatic narratives through which unconscious motivation was mirrored in a variety of objects such as wheel, shawl, bale, chariot, and in flowers and the animal kingdom. I mention this briefly to make clear why these assume the proportions they possess in The Angel at the Gate.

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