Blanket Sea

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“Love is a Lesion on Your Brain” by Courtney LeBlanc

When the headaches started again
you offered Ibuprofen and understanding
and drawn shades. When a train wreck
woke me in the middle of the night, you broke
out the Valium and Percocet and told me not to
cry because that makes it worse, then held me
till I fell into an ocean of quiet. Prescription bottles
line the bathroom sink like dominoes, knock one down
and watch me fall deeper. When the neurologist said,
we found something, you held my hand, a portrait of calm
in the fury of the storm building in my brain.
When the neurosurgeon photographed every slice
and angle of the lesion I would eventually name
Napoleon, you offered to shave your head.
I walk in the door and you know if it’s a night
for wine or for quiet darkness –  you’ve learned
to read the foreign tongue of my grimaces, my sighs.
I’ve been a pincushion, needles placed into my skin
as delicately as a wreath placed upon a grave.
I’ve removed red wine, peanut butter, loud noises,
MSG, chocolate, bright lights and coffee from my diet.
I’ve been on so many different drugs
the pharmacists greet me by name.
I’m sorry our nights have become cluttered
with medicine that makes me so dizzy I trace the walls
to keep from falling, that make me unable to sleep
and escape this madness, that make me cringe
when you speak above a whisper.
I hope you know when I’m closed up
in our dark bedroom I’m praying to God
and Buddha and Allah and Darwin
that this ends soon. I’m scared you’ll buy flowers
for some other girl who doesn’t live
in the gutted carcass of herself.
I’m worried you’ll decide that the idea
of in sickness and in health is too much for you.
Baby, my head hasn’t stopped screaming for six months
but at least it’s screaming I fucking love you.

 

 

(This poem first appeared in Germ Magazine.)

 

 

Courtney LeBlanc is the author of the chapbooks All in the Family (Bottlecap Press) and The Violence Within (Flutter Press), and a Pushcart Prize nominee. She has her MBA from University of Baltimore and her MFA from Queens University of Charlotte. Read her publications on her blog: www.wordperv.com. She loves nail polish, wine, and tattoos. Follow her on twitter: @wordperv and IG: @wordperv79.

Art by Rachel Wallach

“Wrapped in Fire”

A girl standing in the woods in the center of the image with a paper bag over her head. The bag is on fire. This concept was first introduced to me by artists Kyle Thompson and Daniel Serva. I was able to work out the details and created this in my own style. This model and myself suffer from anxiety, and we both felt it portrays how anxiety can feel: smothering, hard to breathe, head racing, etc.

“The Creaking of Wood”

A naked woman standing on water, facing the horizon, with an overlay of a wooden skeleton over her body. The viewer might not notice immediately, but the skeleton in this image is wood. The photograph always makes me imagine the creaking sound a wooden ship makes when the wind blows. It’s a lonely sound, playing off the loneliness and isolation of depression. The rest is up to the viewer’s interpretation.

“A Crack In The Reflection”

A woman sitting in the woods with colorful leaves, holding what seems to be her own head. She has cracks in her body and face, but the head she is holding does not have any cracks. She is looking at the head she is holding. Self-reflection has always been difficult for me. Especially looking back on abuse, self harm, and other trauma. This piece was created to share the difficulty of those issues, as well as my experiences with healing from them and reflecting on myself.

“Ripping Silence”

A person coming out of a bloody body, connected to the “corpse” by blood and ligaments. The woman “old” body is lying on the ground, while the “newer” version of herself sits up. Her face is not shown. This photograph is anything but silent, but depression can often be. The meaning behind this image is to visualize the deep pain that depression can cause. Depression isn’t bloody or gory, but it can feel that way emotionally. Many people don’t understand how deep and painful depression can be, so I wanted to create this to show people how it can feel. This image is someone leaving their depression…one way or another.

“Fragile Like a Vase”

Woman sitting in a green forest, clutching her chest. Her expression is sadness, release, pain. An overlay of a blue vase pattern covers her skin. Mental illness can leave people fragile like a glass vase. It makes you hard like glass, having dealt with pain, but fragile and you can shatter if dropped. The pain in the models face along with the pattern often seen on vases creates that visual story of fragility and sensitivity.

 

Artist’s Statement

I create art to portray the visualization of how mental illness (and trauma, sexual assault, abuse, all of which have/had effects on mental illness) can feel. I take the deep feelings of sadness, loneliness, fading away and I put them into my work in hopes of creating pieces that others connect with. Ultimately, I strive to help people feel less alone and know that they are seen.

 

Rachel is a 26-year-old photographer/digital artist from New York. She first ventured into the world of photography during high school around age 16 and continued on from there. She studied both film and digital photography through college and learned how to navigate Photoshop and the Adobe suite. During college and in the past few years since graduating, Rachel has honed her skills to create surreal images that depict feelings that stem from abuse, trauma, and mental illness. Her goal is to work on large scale projects concerning these issues to help victims and raise awareness for these issues. Find out more at rachelsarawallachphotography.com and follow her on Instagram @RachelSaraWallachPhotography.

“How to Survive a Panic Attack: Parking Lot” by Lillianna Kiel

  • Swerve off the road and into the turning lane. The car’s brakes screech. Find a spot and shakily shift into park.
  • Light a cigarette, a Seneca. A shit brand that you bought a carton of from a girl named Mary. Feel the smooth click of the lighter, purple and covered in sparkly nail polish. You stole it from a friend’s house.
  • Run your fingers over your shaved head. Remember the look on your mother’s face after she saw the absence of the long locks she coveted. Her feline eyes fizzled with fury; her boney hands curled into fists.
  • Inhale the stench. It reminds you of your dad’s old work shirts, cigarettes mixed with motor oil. You remember hugging him as a little kid. He’d come through the front door, damp with sweat, eyes bloodshot. He’d set his Marlboro Reds, wallet, and hat on the counter next to the kitchen phone. You could use one of those shirts to bury your face in to muffle the sobbing.
  • Your upper arm prickles where he left bruises when you were 8 years old. Be honest: you never were a daddy’s girl.
  • After turning off the radio, listen to the silence simmering in the car.
  • You want it to soak in, to numb that persistent panic and release it like smooth steam.
  • Shake your hands, ring them out like a wet towel, hope something will drizzle out.
  • Slam the steering wheel and shake it as hard as you can. Try to rip the damn thing off. Beg it to make the anxiety drain out of your ears, the way you begged your mother not to leave when Dad had her up against the wall.
  • Open the window, bid the cigarette farewell.
  • Grab another one, you strike it. The blazing ember lights the growing darkness. It reminds you of a birthday candle, when Mimi would shut off the dining room lights and the only illumination would be the candle’s flames.
  • You can’t make a wish on a cigarette.
  • Think about lying in your old bed with the porcelain white headboard and the flannel sheets with people ice skating on them. How warm they were. Shut out the persistent snarls that echo from the living room. Ignore the sound of Dad’s meaty palm smashing against the hollow wall. He missed Mom’s head this time.
  • In the parking lot, a small child runs behind his mother with a cherry Slurpee in his hand. He yells, “Mommy, wait! I love you.” She turns around, scoops him into her arms, and kisses his brow.
  • Getting out of the car, stubbing out the cigarette, and running up to hug that child and his mother crosses your mind. You want a taste of their joy, you crave every ounce.
  • Grab your phone out of your purse. You stare at the reflection in the cracked screen, unlock it and scroll to his name. Your heart purrs. It always does when you see his name. It used to light up Babe when he texted you. Now it’s just John.
  • Your fingers cha-cha above the screen, itching to text him, ask him to save you.
  • He’s too busy getting off on the girl you found in his bed.
  • Turn the phone off.
  • The moon settles herself. The sticky, evening breeze bleeds through the cracked window. It tries to caress your shuddering body.
  • Clamp your fists together, try to feel your nails dig into your skin. Hope it will jolt you awake. You want to feel the pain, feel something other than your heart racing.
  • Suck in air, tug at the peach-fuzz atop of your head. It’s smooth against the nail marks on your palms.
  • Turn the keys in the ignition. Put the car into gear. Drive.

 

 

Lillianna Kiel’s work has been published in the literary journal, Great Lake Review. She won the Georgia Barnes Award for Creative Writing in 2019. She studied Creative Writing and Digital Humanities at the State University of New York at Oswego. She requests that readers consider donating to support the Anxiety and Depression Association of America.

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