When Hoel asked Reich why he had behaved thus, his reply was succinct: “A man
must do foolish things sometimes.” The last thing Reich needed at the time was a well-doc-
umented newspaper story concerning his seduction of a patient.
Such sexual impulsiveness with a patient was one of the minor examples of his
neurotic behavior during this period when he was undoubtedly under stress. Elsa
Lindenberg told me that after Reich’s discovery of the bions, and especially after the start of
the newspaper campaign, his behavior changed. He became more suspicious, defensive, and
jealous. Before the bion research, she had felt familiar with the broad outlines of his work.
She could raise questions, criticize in a way that Reich found helpful. But she had no back-
ground at all in natural-scientific work nor any particular disposition to learn it. Nor did
Reich make it easy for her to familiarize herself with his research, being so defensive that he
interpreted all questions as criticism.
As the press campaign intensified, Reich withdrew socially. He and Elsa saw much
less of friends like the Hoels. They, too, found him more domineering and suspicious. His
enemies attacked him and his friends did not understand. He felt relatively alone in his bion
work. He was especially hurt when Schjelderup, as much as anyone his original sponsor in
Norway, severed Reich’s connection with the Psychological Research Institute and dissociat-
ed himselffrom Reich’s experimental work.
Reich’s most striking symptom during this time was his jealousy toward Elsa. Until
1937, he had been supportive of her career; now he wanted her closer to him, sharing his
work and life entirely, without other distractions. Here he was behaving like his own author-
itarian father, not the champion of women’s independence he was in his writings and, for
the most part, in his life.
The quarrels about Elsa’s independence reached a high point at some time during
1938 when Elsa was offered the opportunity to choreograph and dance in a work jointly
planned with a composer. Elsa accepted the assignment in the face of Reich’s intense oppo-
sition.Shortly before opening night, Elsa and the composer had to meet late in the evening
at the composer’s apartment to plan some last-minute production details. They were work-
ing when they heard a knock at the door. It was Reich, He entered and sat silently for a while.
Then he launched into a tirade: What Elsa was doing in the theater was trivial compared to
what she might be doing with him! Suddenly he started punching the composer. Elsa con-
sidered calling the police but wanted to avoid a scandal in the papers. Fortunately, Reich’s
rage soon subsided. The composer agreed not to speak of the incident and he kept his word,
even though questions were raised when he arrived at the theater the next day with a black
eye^21.
Following this outburst, Elsa refused to return home with Reich but went to stay
with a friend, Reich followed her there and, at first, continued his jealous accusations.
Somehow or other, they finally made up and went home together. But for Elsa the relation-
ship was scarred. This kind of incident made Elsa less committed to Reich. Shortly after the
tumultuous evening,Reich asked her if she would emigrate to America with him. She
replied: “No,” although she admitted: “It was the hardest 4 no’ I ever had to say.” She felt
240 Myron SharafFury On Earth