Composed around the disembodied limb of her father, the juvenile diarist reveals the events that lead to her father's watery grave and confessing her own emotions in regard of the hereafter. The continuous attention to corporeal extremities is revealed: "I don't really remember what dad looks like. All I remember is his legs and hands. He had big vains (sic) that I used to play with. He told me to stop but I know he really liked it" Speaking of her sister's method of hurdling the bereavement: "My sisters (sic) quite pretty but my dad used to tell her she had to (sic) much make up on. Now hes (sic) not here she puts even more on." (The statement throws light on her siblings' continual capture at the dressing table in the Private Sketchbook). Image and information are cast against the backdrop of a utility bill envelope mailed to David Jelish months after his death, an (continual) occurrence that the young artist describes as "like being stabed (sic) every time".
Page 27 of School Sketchbook #7
Nearing what psychologists refer to as 'closure', Naomi's recovery is brutally curtailed by the cruel remarks of her teacher, Demaio, "see me now", spewed on the same envelope as her forthcomings. It is not difficult to imagine how that assembly proceeded given the nature of the subsequent work the frail, introverted teenager produced in the seventh Sketchbook. Revisiting imagery prevalent in the opening School Sketchbook, the young artist's anchor resolutely unfastened by the malice of the Catholic infiltrator, Naomi rebounds withered towards sublimation and metonymies to again express the torment of her condition. The months of unyielding toil diminished in a single callous draught of red ink.
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