By Elizabeth Clark-Stern



Ken Kimmel, for AMAZON.COM

Lado Shay, author of PSYCHE

Clark-Stern, Elizabeth . Out of the Shadows: A Story of Toni Wolff and Emma Jung . Canada & the US : Genoa House , 2010 . Pp. ix + 68 . Pbk. $17.95 .  By Suzanne G. Rosenthall, Jung Institute of Chicago, THE JOURNAL OF ANALYTICAL PSHCOLOGY, Vol. 56 No. 3, June 2011

Good dramatic writing is an expression of empathy. The words must carry fellow feeling, inhabiting the various perspectives of individuals in conflict struggling to find a viable foothold in the tumultuous currents of their lives. The play script, Out of the Shadows: A Story of Emma Jung and Toni Wolff, written by Elizabeth Clark-Stern, chronicles the experiences and relationship between two aristocratic Swiss women in the life of Dr. Carl Jung. Throughout forty, often wounding, years of interaction, Emma, Jung's wife, and Toni, his mistress, friend and analyst, suffered the pain of engagement in a triangulated relationship. Therapist and dramatist Clark-Stern offers us a fresh slant on this complex alliance, creating two women characters with strength and resilience, capable of insight, change and growth through the storm of their difficult liaison.

Toni and Emma occupy centre stage and are the focus of the reader/viewer's attention in this two-person drama. They are cast, not as ‘Jungian women’, the constellation of acolytes who in the first half of the previous century surrounded and bolstered Jung, but as two complex individuals. In this story, the lens has been calibrated to a new setting, now offering the depth of field of an alternative, female perspective.

We first enter the world of C.G. Jung, seemingly tranquil on the surface, set in a paradisiacal garden fronting Jung's residence on the lake at Küsnacht. It is the summer of 1910 and the playwright envisions Toni Wolff on her way to a therapy session with Jung. We meet Toni as Jung's wife might have experienced her at their first encounter: a fashionably dressed young Swiss woman, desperate and sullen, sent to Jung for analysis by her mother because of severe depression. The view has to be provisional. The story, it is important to remember, is a work of the imagination hung on the bones of research, given flesh and life by Clark-Stern, with sufficient artistic licence taken to make the story coherent and accessible.

The reader's first impressions of young Toni come through the sensate and feeling reflections of Emma Jung. ‘How many times did I see you Toni Wolff whispering up the path, the pearl buttons of your lace blouse catching the morning light?’ Toni, in turn, is introduced to Emma through her most highly developed functions, thinking and intuition. She quotes Shakespeare, challenges Emma, ‘Pardon me Frau Jung, but I believe you have not read sufficient Nietzsche’, and insists that she, Toni, will not marry. A subtle and effective method of characterization by the storyteller, this introduction to the two women coincides somewhat with prevailing images of wife and lover in Jung's life.

Clark-Stern invites us to imagine such a casual meeting between the women most significant to Jung who come to endure the emotional impact of Jung's attachments. She then draws us deeper into the relationship between the two women, envisioning their connection as an extended active imagination with the female characters in an intense dialogue with each other and the significant male figures in their lives over the span of decades.

The reader can imagine hearing echoes of what might have been for Toni Wolff an unconscious enactment of a primary Oedipal triangle. Elizabeth Clark-Stern suggests that Toni, a father's daughter, is grieving the loss of this significant, ambivalent, male figure in her life. Her father, we learn, valued her intellect yet denied her a university education, and, after his death, consigned her to traditional female role expectations. Toni's transference to Jung could have been that he was the great man who would recognize her gifts, treat her as an intellectual peer, and educate her in his theories and methodology. This is, of course, conjecture, yet by presenting these two characters with such dimensionality, Clark-Stern opens the reader to projection and fantasy beyond the limits of what has previously been known about the women's complicated relationship.

Initially, we see each woman through the eyes of the other as the ‘enemy’ in a battle for the heart and mind of Jung, each embodying the characteristics of two very different feminine natures. Readers familiar with Jung's biography learn that perhaps what we see and expect to see in these two women are the archetypal, masculine-based, anima projections of Carl Jung: Emma as ballast, anchor, earth mother and Toni as soul mate, muse, mystical partner with an intuitive grasp of the unconscious. Mother and Heteira, opposites in the female psyche, according to Toni Wolff's essay on the feminine, seem to reflect the polarities in Jung's perspective on women. The confines of these projections are ultimately deeply wounding to both. Through the vehicle of dialogue over the passage of years, the reader experiences a transformation in each woman as she steps ‘out of the shadows’; that is, out of the shadow projection of the other on her and the anima projection of Jung, and into a claiming of greater personhood.

What are the stylistic devices Clark-Stern uses to move along the narrative? Toni and Emma first talk with each other, argue, express their pain and hostility; then resentment and, ultimately, understanding and mutual respect. In addressing the audience directly, each woman also confronts the powerful men in her life: Emma in correspondence with Dr. Sigmund Freud and impassioned dialogue with Jung, and Toni by challenging Jung. In this way, parallels and bonds between Toni and Emma are established. Each woman pleads, first, to have her talents and gifts seen and validated by a powerful male figure, then, as her confidence and awareness blossom, each comes forth with piercing de-idealization of and confrontation with Jung.

The reader does not know if these are thoughts or bold words of Toni and Emma but such expression becomes a crucial vehicle for each in establishing her female authority. Thus, each woman challenges the idealized and internalized masculine aspects of her own female self. What is enacted in the second act of this drama are the essential stages of positive female development: moving beyond the negative animus, the culturally sanctioned, often devaluing, male attitude towards women, and toward claiming a solid feminine ground of being. Toni and Emma must come to the awareness of shadow carried by the other, that is, how each has to claim the projected parts of self to become whole. Emma must claim her own intellect and Toni her need to mother and generate. Both then can ‘birth’ potential in her own psyche: Toni by ‘nurturing’ analysts in training and Emma through her writing and teaching of classes.

Clark-Stern's story of these two powerful women stands as a convincing narrative. Even without the advantage of viewing the play, the characters come to life for me, embodied, passionate and admirable. Her vision of the women adds essential dimension to both Toni and Emma and certainly to Jung.




REVIEW BY KEN KIMMEL, Jundian analyst, Seattle, WA, for AMAZON .COM


Dreamscapes within and without . . . majestic, touching, fanciful, courageous, heart-wrenching,  meaningful, soulful. These words flow easily from the reverie I feel upon completion of Elizabeth Clark-Sterns’ fine new work of fiction, Soul Stories.  These are two tales of young daughters from different continents, one devastated by her mother’s sudden loss, the other watching helplessly as her mother is slowly pulled from her, morphing into something she can no longer recognize as “mother.” These painful events call upon each to embark upon healing journeys deep into nature’s interior spaces—one onto the African plains, the other into the vastness of the imagination.  I am reminded of the lonely early childhood of the analytical psychologist, Carl Jung, whose deep dissociation from  relationships was healed  only through his emersion in fantasy life and play.  This is the kind of psychological depth that the author attempts to reach, and I believe she achieves it.  Clark-Stern the playwright  is evident throughout, in the rich and evocative scenes, character development, and psychological insight—astounding given the brief cross-section of life portrayed in the two novellas.  This is a book that is written from the heart and touches the soul. It’s “good therapy!” One that I gladly recommend to my patients, colleagues, family, and friends.




REVIEW BY LADO SHAY, author of Psyche, published in Australia by Blue Star Print Group


This is a wonderful drama, portraying two unique women, Emma Jung and Toni Wolff, in all their nuance, complexity and growth. Every scene is beautifully wrought, and expressed. Every scene glows and the whole makes an exquisite play. The language is gorgeous. The progression of their encounter is beautifully calibrated, even unto their final parting. It is all as I would have imagined it to be. That is the highest praise I could give, for their encounter has always moved me greatly. The possibility of their relationship is so very rich. And it is that aching possibility that this wonderful play so delicately describes.


I will read and reread this play to savour the rhythm of the words, and the loveliness of the images. The author's choice of metaphors is effortless. She has found just that right balance of words. I love the portrayal of Emma's growth to independence and a creative mind, withstanding Carl Jung's whirlwind energies. That aspect of her - her capacity to stand up and retain a balance against his force of nature - is powerfully presented. Toni's character comes through so clearly too. Her intense mind, her sureness of her gifts, her unfolding as a human being. How fortunate was Carl Jung to have such extraordinary women give to him so freely of their genius. Clearly, he used their work as a commons, and only learned later in his life, if at all, how great a price they paid.


I honour this play. We need such gifted women's voices to reclaim our stories. No man could tell the story of Emma and Toni so profoundly and surely. Of that I am convinced. Elizabeth Clark-Stern has done so with empathy, wisdom and great dramatic flair.  

 What could have been achieved if these women had come together? Emma Jung with her extraordinary sense of balance, Toni Wolff with her profoundly intuitive mind, and Sabina Spielrein with her instinctual knowing. How often does such a rare combination occur? How much they could have discovered of another aspect of depth psychology beyond the patriarchal. I love the ending to this play - goddesses making the alchemy of the new world. Every day, I feel the absence of the voices of wonderful wise women in our western landscapes. WWW in its next iteration. Elizabeth, you belong there.


I'm truly delighted to have read this play, and thank the author for having written it. It will stay with me as an exquisite expression of a profound relationship that shows us a the higher slopes of being human.