her to 'daydream that someone else was her real mother.' Siblings Helene Deutsch's sister, Malvina, was the person from whom she received maternal affection. When their mother decided to beat Helene, Malvina was the one to caution beatings away from the head. Malvina, however, was herself the subject of the limited view of a woman's role in society. Helene Deutsch and her sisters were expected to marry early in life and to marry socially appropriate men. Although a gifted sculptor and painter, Malvina was forced to marry the man chosen by her parents as 'more appropriate,' instead of the man of her dreams. Helene's brother Emil, however, offered abuse rather than affection. Emil sexually abused Helene when she was around four years old, and continued to torment her throughout her childhood. In her later life, Helene saw this affair as the 'root cause of her tendency not only secretly to fantasize, but to relay these fantasies as truth.' As the only son in the family, Emil was supposed to be the heir apparent to the family. Instead, Emil proved to be a gambler, profiteer and poor student, and a disappointment to the family. Throughout her life, Helene tried to make up for her brother's shortcomings, but 'felt she never successfully made up for Emil's failure in her mother's eyes,' but did replace him as her father's favorite. The "as-if" personality 'Her best known clinical concept was that of the "as if" personality, a notion that allowed her to spotlight the origin of women's particular ability to identify with others'. Deutsch singled out schizoid personalities who 'seem normal enough because they have succeeded in substituting "pseudo contacts" of manifold kinds for a real feeling contact with other people; they behave "as if" they had feeling relations with other people ... their ungenuine pseudo emotions'. More broadly, she considered that 'the "generally frigid" person who more or less avoids emotions altogether ... may learn to hide their insufficiencies and to behave "as if" they had real feelings and contact with people'. It has been suggested that it was 'Helene's tendency to love by identifying herself with the object, then experiencing that love as betrayed and running to the next object ... [that] she herself explored in her various studies on the "as if" personality'. Indeed, Lisa Appignanesi has written that 'her memoir sometimes fills one with the sense that she experienced her