In Jed Rubenfeld’s, The Interpretation of Murder, several of Freud’s theories are intertwined with the plot, shedding light on the various ways in which they can be interpreted and, importantly, criticized. Literarily, Rubenfeld uses the dramatized tension between Jung and Freud as a direct form of criticism. Among the most compelling, is the reading of the narrative as decentering Freud by putting him in allegorical situations that represent areas of conflict within his theory and potentially within his own life.

For instance, when the physicians first arrive in New York, they remark on how Freud did not permit anyone to analyze his dreams, while the others were. This establishes Freud’s position of dominance over the others and ascribing him as a figure of patriarchy. An almost totem and taboo like preconception is noted, fear and the foreshadow of betrayal.

Freud’s perception of how his theories will be integrated into society greatly influences the dynamic of tension among Freud’s collogues. This appears on page twelve when, “a debate ensued on whether Freud’s teachings dictated defiance of conventional sexual morality” (13). On the one hand, Freud believes that his ideas should be embraced into societies to help loosen confines around sexuality. However, the perceived resistance of the collogues is shown through Rubenfeld’s exclamation, “psychoanalysis demanded that a man be conscious of his true sexual desires, not that he succumb to them” (14). The parties have opposing views points to a major pitfall of which Freud was greatly fearful.