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Did an Unorthodox Therapist Drive a Woman to Suicide?

“Case Study,” by Graeme Macrae Burnet, is a novel of found documents detailing troubled lives and shifting identities.

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By Christian Lorentzen

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CASE STUDY, by Graeme Macrae Burnet

To get to Primrose Hill from central London, you take the Tube to Chalk Farm Station, exit to your right toward a cafe and an off-license, and climb a path to an overpass above train tracks. The path is called, rather unassumingly, Bridge Approach, and a five-minute walk leads to Primrose Hill. I happened to live in these parts for three years, and I crossed the overpass twice a day most days. Just to the south is the Pembroke Castle pub, where Liam Gallagher of Oasis was once arrested, in 1998. Another neighborhood tippler, Kingsley Amis, favored the Queen’s at the corner of St. George’s Terrace, according to his biographer Zachary Leader, who printed his monthly tab. From my balcony I could see the phone box where Sylvia Plath would desperately call Ted Hughes at his lover’s flat in her last days. It is a quiet neighborhood, but one dense with intrigue and peopled by famous, messy and tortured artistic personages.

The events of Graeme Macrae Burnet’s fourth novel, “Case Study,” are set off by a suicide in the 1960s by a young woman named Veronica, who jumps from the Bridge Approach overpass and is struck by the 4:45 train to High Barnet. (I am not sure that High Barnet trains, rather than Edgware-bound ones, run on this track, nor that the overpass itself, rather than just the path that approaches it, is called Bridge Approach, but these are the sorts of possible slight inaccuracies that Burnet and his not entirely reliable narrators relish.) An investigation into Veronica’s death and the man who might have been responsible for it — her therapist, Arthur Collins Braithwaite, whose office is on Primrose Hill — forms the substance of the narrative. Like Burnet’s previous novel, “ His Bloody Project ” (2016), “Case Study” was nominated for the Booker Prize and consists largely of purportedly found documents.

The would-be Miss Marple of Burnet’s loopy detective story is Veronica’s unnamed younger sister, who, under the alias Rebecca Smyth, becomes Braithwaite’s patient to find out if he drove Veronica to take her own life. Rebecca details her five sessions in notebooks that decades later end up in the hands of a writer named GMB, our frame narrator, who is researching Braithwaite for a potential biography. Now cast into obscurity, the (fictional) therapist was once a figure of note, appearing on BBC chat shows and publishing the books “Untherapy,” a best seller, and “Kill Your Self,” which Rebecca calls “a jumble of incomprehensible sentences, each having no discernible relationship to its neighbors.” Still, we are told by GMB, “Kill Your Self” “captured the zeitgeist,” acquired for its author a cult following from which he drew a lucrative pool of patients, and “if anything, the impenetrability of certain passages only served to confirm the author’s genius.”

“Case Study” consists of a preface, in which GMB explains how he received the notebooks (from Rebecca’s cousin, who noticed a blog post by GMB on Braithwaite); the five notebooks themselves, one of which includes a chapter clipped from “Untherapy” about a patient who is clearly Veronica; five biographical chapters about Braithwaite by GMB, inserted between the notebooks; and a postscript, in which GMB ventures south to pay a visit to the Pembroke Castle. The elegant nested structure is one of the novel’s chief appeals. So is the contrast between Rebecca’s narrative voice, characterized by what GMB calls “a certain kooky élan,” and the cool tone of GMB’s Life of Braithwaite. What emerges is a comedy of identities tried on and discarded. Given the number of suicides that mark the story, it’s a comedy with dark underpinnings.

Rebecca lives with her father, a retired engineer, and their housekeeper, and works as a receptionist for a talent agent. Her mother died when she was 15, falling off a cliff before her eyes, during a family holiday in Devon. Given that Rebecca is the only witness to the fall, and that she admits to fantasizing about pushing someone off the cliff the sentence before recounting her mother’s death, we can’t help suspecting that she might have done it herself. But we have no more reason to doubt it than the rest of her story, and that’s part of the fun: The whole tale might be a hoax.

Unlike Veronica, who was a doctoral student in mathematics at Cambridge, Rebecca is not very ambitious. She’s an erstwhile fiction writer, having given up on writing after the one story she published in Women’s Journal didn’t have editors banging down the door for more. She is a homebody, happy to tend to her father and not be a “Modern Independent Woman.” She attests to being a virgin, and so becoming Rebecca Smyth means becoming someone else: the sort of woman who puts on lipstick, attends glamorous parties and drinks gin with gentlemen at the Pembridge Castle (as she calls the Pembroke Castle). Since she is not really that sort of woman, drinking even a little gin causes her to vomit in the bathroom the first time she tries it.

Braithwaite is also someone who puts on new identities, but at the same time he’s a recognizable English type: the humble boy from northern England who goes down to Oxford after the war and reinvents himself as a kind of romantic rogue. “Case Study” has a lot in common with the novels of Vladimir Nabokov and Roberto Bolaño, in which invented characters pass through tumultuous episodes of literary history that never quite happened, though it seems as if they should have. Braithwaite brushes against real-life figures, engaging in hostile correspondence with the psychiatrist R.D. Laing and becoming a confidant of the actor Dirk Bogarde. After an overblown scandal consumes his therapeutic practice and sets him off on a bender, he winds up back at the home of his father (another suicide) in the North, where he writes his unpublished memoir, “My Self and Other Strangers.” It is the source, we are told, of GMB’s biographical reconstructions.

“Case Study” is a diverting novel, overflowing with clever plays on and inversions of tropes of English intellectual and social life during the postwar decades. As such, it is not exactly an excursion into undiscovered literary terrain. Reading Burnet’s doubly mediated metafiction of North London neurotics and decadents, I often longed to turn back to the shelf for the real thing: fictions by Doris Lessing, Kingsley and Martin Amis, Muriel Spark, Jenny Diski, Julian Barnes, Alan Hollinghurst, Zadie Smith or Rachel Cusk; biographies of Plath and Hughes; films of kitchen-sink realism starring Bogarde and Laurence Harvey, with scripts by Harold Pinter; or even the documentaries of Adam Curtis, in which Laing often makes a cameo. It’s a compliment to put “Case Study” in that company and no insult to say that Burnet must have done his homework to get there. I imagine he lives in a flat full of piles of yellowing copies of The Times Literary Supplement, every issue a catalog of obscurities from across time. Humble children from the provinces who want to reinvent themselves have to get the stuff of their daydreams from somewhere.

Christian Lorentzen’s work has appeared in The London Review of Books, Bookforum and Harper’s Magazine.

CASE STUDY | By Graeme Macrae Burnet | 278 pp. | Biblioasis | Paperback, $17.95

An earlier version of this review misstated R.D. Laing’s profession. He was a psychiatrist, not a psychologist.

When we learn of a mistake, we acknowledge it with a correction. If you spot an error, please let us know at [email protected] . Learn more

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Review: 'Case Study,' by Graeme Macrae Burnet

FICTION: A brilliant multilayered novel about a woman who plays a dangerous game with a psychotherapist in 1960s London.

By Malcolm Forbes

The underdog on the 2016 Man Booker Prize shortlist was the then relatively unknown Scottish author Graeme Macrae Burnet. Although it lost out to Paul Beatty in the end, Burnet's historical crime novel about one man's "most sanguinary deeds" made him a writer to watch. For "His Bloody Project" was more than a stirring tale of murder and madness in the Scottish Highlands in the 19th century. Composed of memoir excerpts, police statements and medical reports, it was also a cleverly crafted work, one that invited the reader to sift the collated evidence and determine the reliability of the narrators.

Burnet's new novel is another formally inventive offering made up of various documents, all of which act as interwoven narrative threads. "Case Study" sees Burnet re-examining themes of reality and identity through characters and sources that may or may not tell the whole story. Once again, he opens with a preface by a writer called "GMB," who attempts to pass off the startling fiction that follows as fact.

GMB explains how he came to possess six notebooks written by a former patient of Collins Braithwaite, a radical psychotherapist from the 1960s. Braithwaite is now forgotten, discredited and disgraced and his work is out of print. GMB is fascinated by this fallen figure but also wary, in case the notebooks, which supposedly contain allegations about Braithwaite, are forgeries. Despite his reservations, GMB reads the notebooks and presents them interspersed with his own biographical research into Braithwaite.

The notebooks give an account of events from 1965 by an unnamed woman. She is convinced that Braithwaite, "Britain's most dangerous man," should bear the blame for her sister's recent suicide. In a bid to find out who he is and how he drove her sister over the edge, the woman assumes the name of Rebecca Smyth and arranges a consultation with Braithwaite at his London practice. "Suicide," she writes, "makes Miss Marples of us all. One cannot help but look for clues."

Over the course of several sessions, "Rebecca" opens up about her past while also trying to learn more about Braithwaite — a man who takes pleasure in her discomfort, like "a cat toying with a half-dead mouse." Away from her therapy, she continues to hide behind her fabricated alter ego while going on dates with an admirer called Tom. But when Braithwaite sees through her subterfuge and Tom discovers she is not who he was led to believe, the woman starts to lose her grip on reality.

Macrae's novel works on various levels. It is an elaborate, mind-bending guessing game; it is a blackly comic and quietly moving study of a nervous breakdown; and it is a captivating portrait of an egomaniac. If the notebooks depict a gripping chain of events, then the biographical sections expertly flesh out the grotesque, manipulative yet charismatic Braithwaite. Macrae has reliably delivered another work of fiendish fun.

Malcolm Forbes has written for the Times Literary Supplement, the Economist and the Wall Street Journal. He lives in Edinburgh, Scotland.

By: Graeme Macrae Burnet.

Publisher: Biblioasis, 288 pages, $16.95.

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