The less-than-complimentary portrait of Ivesmail that Naomi offers on the reverse of a photo sleeve [18] finds its visual sentiments echoed in both image and text of the above mentioned envelope stolen from School Sketchbook Seven. This portrait was completed whilst the family, and Ivesmail, were holidaying during the Christmas period and is appropriately executed on a photographic sleeve bearing the inscription ‘Pictured at Pontins’. Ivesmail himself is not reticent about the fact that he was present during this vacation. Indeed he employs his presence as a basis to evaluate the various qualities of the Jelish family members: “Rather than participate in the frivolous activities that the rest of her brood embarked upon (for this was Pontins), Naomi sought the more soulful venture of respite through the re-channelling of artistic respite.” It would seem that the accord that Ivesmail bestows on the young artist is not returned in kind.
The misbalance of relationship between Ivesmail and Naomi is repeated in the passage that the artist provides on the envelope again graced with Ivesmail’s visage [19]. As previously mentioned, Ivesmail purloined the artist’s verse from this sheet for the purposes of his essay although he conveniently ignores the girl’s attitude towards his own actions. Naomi writes that Ivesmail has told her to stop showing her work to her grandmother and to show it to him instead. Though the young artist follows that she will “never show him all her drawings” as “he’s too creepy.” This disclosure highlights the issues at the heart of the difficult relationship between Naomi’s grandmother and Ivesmail (Ivesmail himself suggests that her grandmother “was nothing but a hindrance”).