ABSTRACT
In the antisocial trends identified by D. W. Winnicott, there are two principal manifestations. Stealing is the first—in the hope of regaining the loved and lost object. The other is destructiveness—in the search for a containing environment. The youngster's delinquency masks a quest for the lost and loved internal home of infancy, for the strong-enough unfound father. Indeed, with the perils inherent in early development, as depicted by Winnicott, it is remarkable that anyone makes it to psychological maturity: The early stages of emotional progress are full of potential conflict and disruption. While Winnicott's primary task appears to have been that of empathie and imaginative facilitator, it is these very powers that reveal him as masterminding the whole show, with the real father assigned a more passive role. Max, the child borne on his father's shoulders was director of a new inner-city centre for disturbed children.
