Sigmund Freud almost didn’t make it out of Vienna in 1938. He left on June 4th, on the Orient Express, three months after the German Army entered the city. Even though the persecution of Viennese Jews had begun immediately—Edward R. Murrow, in Vienna for CBS radio when the Germans arrived, was an eyewitness to the ransacking of Jewish homes—Freud had resisted pleas from friends that he flee. He changed his mind after his daughter Anna was arrested and interrogated by the Gestapo. He was able to get some of his family out, but he left four sisters behind. All of them died in the camps, one, of starvation, at Theresienstadt; the others, probably by gas, at Auschwitz and Treblinka.

London was Freud’s refuge, and friends set him up in Hampstead, in a big house that is now the Freud Museum. On January 28, 1939, Virginia and Leonard Woolf came for tea. The Woolfs, the founders and owners of the Hogarth Press, had been Freud’s British publishers since 1924; Hogarth later published the twenty-four-volume translation of Freud’s works, under the editorship of Anna Freud and James Strachey, that is known as the Standard Edition. This was the Woolfs’ only meeting with Freud.

English was one of Freud’s many languages. (After he settled in Hampstead, the BBC taped him speaking, the only such recording in existence.) But he was eighty-two and suffering from cancer of the jaw, and conversation with the Woolfs was awkward. He “was sitting in a great library with little statues at a large scrupulously tidy shiny table,” Virginia wrote in her diary. “A screwed up shrunk very old man: with a monkey’s light eyes, paralyzed spasmodic movements, inarticulate: but alert.” He was formal and courteous in an old-fashioned way, and presented her with a narcissus. The stage had been carefully set.

The Woolfs were not easily impressed by celebrity, and certainly not by stage setting. They understood the transactional nature of the tea. “All refugees are like gulls with their beaks out for possible crumbs,” Virginia coolly noted in the diary. But many years later, in his autobiography, Leonard remembered that Freud had given him a feeling that, he said, “only a very few people whom I have met gave me, a feeling of great gentleness, but behind the gentleness, great strength. . . . A formidable man.” Freud died in that house on September 23, 1939, three weeks after the start of the Second World War.

Hitler and Stalin, between them, drove psychoanalysis out of Europe, but the movement reconstituted itself in two places where its practitioners were welcomed, London and New York. A product of Mitteleuropa, once centered in cities like Vienna, Berlin, Budapest, and Moscow, psychoanalysis was thus improbably transformed into a largely Anglo-American medical and cultural phenomenon. During the twelve years that Hitler was in power, only about fifty Freudian analysts immigrated to the United States (a country Freud had visited only once, and held in contempt). They were some of the biggest names in the field, though, and they took over American psychiatry. After the war, Freudians occupied university chairs; they dictated medical-school curricula; they wrote the first two editions of the Diagnostic and Statistical Manual of Mental Disorders (the DSM). Psychoanalytic theory guided the treatment of hospital patients, and, by the mid-nineteen-fifties, half of all hospital patients in the United States were diagnosed with mental disorders.

Most important, psychoanalysis helped move the treatment of mental illness from the asylum and the hospital to the office. Psychoanalysis is a talk therapy, which meant that people who were otherwise functioning normally could avail themselves of treatment. The greater the number of people who wanted that kind of therapy, the greater the demand for therapists, and the postwar decades were a boom time for psychiatry. In 1940, two-thirds of American psychiatrists worked in hospitals; in 1956, seventeen per cent did. Twelve and a half per cent of American medical students chose psychiatry as a profession in 1954, an all-time high. A large percentage of them received at least some psychoanalytic training, and by 1966 three-quarters reported that they used the “dynamic approach” when treating patients.

The dynamic approach is based on the cardinal Freudian principle that the sources of our feelings are hidden from us, that what we say about them when we walk into the therapist’s office cannot be what is really going on. What is really going on are things that we are denying or repressing or sublimating or projecting onto the therapist by the mechanism of transference, and the goal of therapy is to bring those things to light.

Amazingly, Americans, a people stereotypically allergic to abstract systems, found this model of the mind irresistible. Many scholars have tried to explain why, and there are, no doubt, multiple reasons, but the explanation offered by the anthropologist Tanya Luhrmann is simple: alternative theories were worse. “Freud’s theories were like a flashlight in a candle factory,” as she puts it. Freudian concepts were taken up by intellectuals, who wrote about cathexes, screen memories, and reaction formations, and they were absorbed into popular discourse. People who had never read a word of Freud talked confidently about the superego, the Oedipus complex, and penis envy.

Freud was recruited to the anti-utopian politics of the nineteen-fifties. Intellectuals like Lionel Trilling, in “Freud and the Crisis of Our Culture,” and Philip Rieff, in “Freud: The Mind of the Moralist,” maintained that Freud taught us about the limits on human perfectibility. Popular magazines equated Freud with Copernicus and Darwin. Claims were large. “Will the Twentieth Century go down in history as the Freudian Century?” asked the editor of a volume called “Freud and the Twentieth Century,” in 1957. “May not the new forms of awareness growing out of Freud’s work come to serve as a more authentic symbol of our consciousness and the quality of our deepest experience than the uncertain fruits of the fission of the atom and the new charting of the cosmos?”

Professors in English departments naturally wondered how they might get in on the action. They did not have much trouble finding a way. For it is not a stretch to treat literary texts in the same way that an analyst treats what a patient is saying. Although teachers dislike the term “hidden meanings,” decoding a subtext or exposing an implicit meaning or ideology is what a lot of academic literary criticism does. Academic critics are therefore always in the market for a theoretical apparatus that can give coherence and consistency to this enterprise, and Freudianism was ideally suited for the task. Decoding and exposing are what psychoanalysis is all about.

One professor excited about the possibilities was Frederick Crews. Crews received his Ph.D. from Princeton in 1958 with a dissertation on E. M. Forster. The dissertation explained what Forster thought by looking at what Forster wrote. It was plain-vanilla history-of-ideas criticism, and Crews found it boring. As an undergraduate, at Yale, he had fallen in love with Nietzsche, and Nietzsche had led him to Freud. By the time the Forster book came out, in 1962, he was a professor at Berkeley, and his second book, “The Sins of the Fathers,” was a psychoanalytic study of Nathaniel Hawthorne. It came out in 1966, and, along with Norman Holland’s “Psychoanalysis and Shakespeare,” published the same year, was one of the pioneering works in psychoanalytic literary criticism. Crews began teaching a popular graduate seminar on the subject.