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@analogparalysis1978
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Gail Honeyman, from her book titled "Eleanor Oliphant Is Completely Fine," originally published in 2017
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Salma Deera, "Salt"
Molly Malone Cook. Helping the Traveler, 1965
Mark Rothko - Black no. 8, 1964.
How does one write from within an absence of memory, from within a loss that is less remembered as a story or an image or a thought than as a mood, an existential void, or a sense of annihilation? Writing is performed in the shadow of a lost object. Writing is the shadow of an absent voice. Writing assembles an undergrounded body's fragmented speech.
Gabriel Schwab, Haunting Legacies: Violent Histories and Transgenerational Trauma

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The heroic child who continues to struggle to make sense out of the world and the people in it, however, is developing a powerful source of strength, no matter what the anguish or bewilderment experienced along the way. Caught in a particularly cruel, frustrating, and irrational environment, he or she will doubtless feel alienated from many of the people in the immediately surrounding world, and legitimately so. But the child will not feel alienated from reality, will not feel, at the deepest level, incompetent to live—or at least he or she has a decent chance to avoid that fate. To persevere with the will to understand in the face of obstacles is the heroism of consciousness.
Often children who survive extremely adverse childhoods have learned a particular survival strategy. I call it “strategic detachment. ” This is not the withdrawal from reality that leads to psychological disturbance, but an intuitively calibrated disengagement from noxious aspects of their family life or other aspects of their world. They somehow know, This is not all there is. They hold the belief that a better alternative exists somewhere and that someday they will find their way to it. They persevere in that idea. They somehow know Mother is not all women, Father is not all men, this family does not exhaust the possibilities of human relationships—there is life beyond this neighborhood. This does not spare them suffering in the present, but it allows them not to be destroyed by it. Their strategic detachment does not guarantee that they will never know feelings of powerlessness, but it helps them not to be stuck there.
Nathaniel Branden, The Six Pillars of Self-Esteem
Alfred Stieglitz, from a letter to Georgia O’Keeffe featured in My Faraway One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz: Volume One, 1915-1933
Robert Rauschenberg, Cot, 1980. Solvent transfer, acrylic paint, fabric, and printed reproductions on two sheets of paper, 45 × 31 in. (114.3 × 78.7 cm).
The God Crippled With One Leg (Jun Kurosawa, 1994)

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René Magritte
The Dream of the Androgyne (1945)
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