Odelina’s mind never rests.
Cluttered, her brain feasts on her shame and repressed past and fiends.
Her closed eyes projectors aggrandising the long gone monsters.
Odelina bows to those grimaces on the silent walls and torments herself.
Voices disassociate and they scream at her, the worst things imaginable.
Odelina prevents the reality from happening by evoking it herself.
Punsihing herself in the name of self-protection and weaponry.
Odelina is not a warrior, but she is a child of war, never learned the stratagems.
Inside of her the old personalities knock on her heart’s walls.
There was no access and no answer.
They became louder and wandered higher, to her brain, the controller.
Odelina cannot look at the faces of those voices that reach out to her.
She shies away from the person she has once been.
In fact the many identities she lived through over every single year.
And what is truly a wonderful thing becomes horrifying.
Her mind tries to tell her something when she lies awake and fears the stillness.
We all belong together. We all complete and understand each other.
There is a reason for everything and all of us are fallible.
Why push us away, we are always learning.
Look into the future, how would you feel if it happened to you?
Put yourself in your own shoes, live with yourself.
Exorcism would mean death of the soul, impossible, her energy is one that walks ahead.
Embracing them means sleeping in unison, means love, means celebration.
Odelina takes the next exit out of the roundabout that is her mind.
The monsters evoked to receive attention.
The identities chase their power out and chant in solidarity.
Odelina forgives herself.
Not waiting for the monsters of the past to become one-hour-repentants for what they have done.
“Le Baiser à la mère” by Eugène Carrière (1849-1906)