
Show Notes
This episode of “A Psychoanalytic Perspective on Racism in America” takes a deep dive into the disturbing legal outcomes of state-sanctioned violence. The host and co-host, Dr. Karyne Messina and Dr. Felecia Powell-Williams, analyze the Department of Justice's sentencing recommendation for Brett Hankison, one of the officers involved in the raid that led to Breonna Taylor's death. The episode uses this case as a springboard to explore the central question: what unconscious processes are at work when the state acknowledges harm but refuses to assign it meaningful consequence? And how does this shape the racial psyche of a nation already strained by the traumatic repetition of Black death without accountability? The episode begins by examining the DOJ’s sentencing memo for Brett Hankison, who was convicted of federal civil rights violations for blindly firing his weapon. Drs. Messina and Powell-Williams note that while Hankison was not found directly responsible for Taylor's death, his actions contributed to a chaotic and dangerous situation. The DOJ's recommendation for leniency—framed around Hankison’s expressed remorse and mental health struggles—is presented not as a gesture of compassion but as a powerful act of disavowal. In psychoanalytic terms, this is a mechanism of simultaneously knowing and not knowing: the state admits a legal wrongdoing but emotionally withdraws from its moral and human significance. This defense is a way for institutions to maintain a sense of "white institutional innocence" by trivializing the consequences of their actions and deflecting from the deeper, systemic issues of race and historical violence. Drawing on historical analysis, the podcast then places this legal outcome within a larger pattern of Black death as public spectacle and white remorse as resolution.
The hosts argue that these ritualized performances of remorse—appeals to "good intentions" and vague promises of reform—are ways to reassert order and preserve the racial status quo. They use Saidiya Hartman's concept that "innocence is the condition of whiteness" to explain how the justice system often re-centers the perpetrator's psychological state and suffering over the victim's. This reversal, where the officer is subtly pitied and the Black woman's life becomes incidental, is a key dynamic of this historical pattern. To further illustrate this psychic phenomenon, the episode sets up a comparative case study between the killing of Breonna Taylor, a Black woman killed by white officers, and the death of Justine Ruszczyk Damond, a white woman killed by a Black officer. The hosts detail the background, outcomes, and sentences in each case to illuminate the differential application of justice and the underlying psychic valuations of human life based on race in America. This comparison serves to highlight how the justice system's response is often a traumatic reenactment of historical patterns rather than a genuine move toward accountability and repair. The episode also introduces the Freudian concept of the return of the repressed, arguing that the persistence of Breonna Taylor’s name in cultural discourse—in art, protests, and community rituals—is a refusal to allow her death to be buried. These acts of symbolic resistance, or counter-memory as defined by Foucault, challenge the official narrative and insist on a different kind of justice. This alternative model of justice, the hosts conclude, requires not just legal process, but a willingness to bear witness to suffering and engage in the emotional labor and truth-telling that are necessary for genuine collective repair.
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis
More from New Books in Psychoanalysis
“For Laplanche we are constantly and radically de-centered, always adrift so to speak in terms of a center.” - Dominque Scarfone
As the popular jazz standard tells us, “comes love, nothing can be done”, or can it? Galit Atlas begs to differ in her most recent book Come Closer: Childhood Wounds, Adult Love, and the Secrets of Emotional Intimacy, which describes six kinds of emotional styles, as we might call them, made manifest when we are young. Atlas, whose work has endeavored to sexualize the Relational School, here turns an eye both keen and wistful, towards love.
Psychoanalysing Mind-Body Narratives Through Beckett and Artaud: The Trauma of the Body (Routledge, 2026) provides an epistemology of the body as it relates to subjectivity through an analysis of selected works of Antonin Artaud and Samuel Beckett. Presented in three parts, the book explores a fundamental premise: that there is a traumatic and alienating dimension to embodiment that resists expression within representational systems and is core to the being of any subject. In Part One, The Epistemology of the Body, Meehan O'Callaghan approaches a theory of the body as traumatic by framing it as a question, a gap in knowledge through the lens of psychoanalysis and theatre studies. Part Two, The Body of Drama, is devoted to a study of the body in the works of Beckett and Artaud from the perspective of psychoanalysis. Part Three, The Body Between Being and Non-Being, provides a deeper exploration of how the interrogation of the body opens onto a question of being and uses the insights gained from the dialectical encounter of psychoanalysis with the specific works of Beckett and Artaud to apply them to contemporary and scholarly issues of the body. Psychoanalysing Mind-Body Narratives through Beckett and Artaud will be essential reading for psychoanalysts in practice and in training, and for academics and scholars of Lacanian studies, psychoanalytic studies, the body, disability studies, and literary and theatre studies.
This material and theoretical history of seriality shows it to be the dominant form of culture since its inception within 19th-century print culture, as both a media structure and a psychic one.
A collection of reported stories that explore the relationship between mothers and daughters, from Rachel Aviv, the finalist for the Pulitzer Prize in Feature Writing for her work in The New Yorker.