ABSTRACT
Michel Gribinski, a reader and translator of D. W. Winnicott, shared the same taste for simple words, those in which the poiesis of the infans remains apparent. The poetry of the expression “imperfect separations” attests to his exploration of this lapse of time, of this space between the image and the idea or between the word and the thing, a space that Andre Gide referred to as the habitat of poetic emotion. From different paths and angles, he envisages the innumerable separations in which human beings, the analyst and the analysand are confronted with their primal incestuous attachments and with the work disengagement or renunciation that is implied. Beyond the wrenching emotional experience and transformation of the interpretative moment, he conceives the imperfection of separation, its awkwardness and its irreducibility well beyond the session and the analysis.
