Jan Preisler - Black Lake (1904)
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@lukesmithers
Jan Preisler - Black Lake (1904)
A still from “Grace Notes : Reflection From Now”(2016) directed by Carrie Mae Weems
Stephen Dunn, from “Mon Semblable”, Between Angels
Rick Owens A/W 2012 | © Kevin Tachman
In these poignant photographs capturing the final years of my grandparents in Fort Worth, Texas, a subtle but profound narrative of their emotional fragility unfolds. The visible physical and emotional challenges documented in my photographs of my grandparents echo the broader reality faced by many older adults. Late-life depression, a topic intricately woven into the fabric of their experiences, becomes a lens through which we can explore the complexities of aging.
As the demographic landscape undergoes a transition, with more elders and fewer children, the prevalence of conditions like depression in older adults gains significance. The photos of my grandparents, embodying the isolation and emotional despair often associated with aging, resonate with the broader understanding that depression affects about one in ten people over the age of 65 (O'Donoghue & Ryan, 2011). Major depression, impacting 1-2% of older adults, takes a toll on their overall well-being, contributing to disability and even premature death, as recognized by the World Health Organization (WHO) (Zivin, 2013).
Delving deeper into their story, the photos become more than mere snapshots; they become windows into the psychosocial and organic pathways influencing late-life depression. The loss of independence, the challenges of coping with medical conditions, and the impact of significant life events are threads intricately woven into the narrative. Just as the statistics underscore the global burden of late-life depression, my grandparents' story serves as a personal testament to the emotional complexities faced by older individuals.
These glimpses into my grandparents' late-life journey underscore the urgency of addressing mental health challenges in the elderly. Their story, like those of many others, prompts a reflection on the need for comprehensive strategies that encompass prevention, diagnosis, and treatment. Through their experiences, we see a call to action, advocating for tailored interventions and fostering a deeper understanding of the multifaceted nature of late-life depression.
Luke Smithers
www.lukesmithers.com
Shadow May Resolve Into Beauty, Luke Smithers
Behind him there is a mirror; above, a loose wire; and below, a maroon carpet. He thinks, I am boy, in an elevator. He thinks, I am made of skin, muscle. I am made of many cells. He came far to stand here—on the L earlier, rumblings up his spine like a totem, and then walking the blocks, legs hinged heavy. He had stood in the fluorescents of a department store and felt a draft of air roam his body. He had grazed each blouse. And the bodies he passed to arrive here! He could hardly tear them apart; they amassed, and he no longer knew where to look one in the eyes. So he looked down mostly, his shoelaces too long so he had bunched them into the boot tongue, the sidewalk, the many heels clacking, and in their midst, weathered toes, rattle of change.
The elevator ascends past his floor. A simple thing, four walls, a can of soup, sheets, pillows, a door. He always pressed three and walked down the hall and struggled with the key. He could not, though, this time, bear, beyond the open door, his belongings shining in the blueish light—buckles, ring, stovetop. The door opens on twelve. A lady, with her gray hair pinned, inches past.
He starts down the hall. He touches strangers’ knobs. What he told himself on the plane the year before—I will sit at the foot of the buildings. I will come to know and love such fake light. I will walk with the mass but will not scream. But a curtain fell across his way, and from it, a hand, drawing him in. He saw the body to which it belonged only later, in the cab, on the way to the man’s gilded room, but he let the man turn him over like a glass nonetheless, and then, the man washing up in the bathroom, he stood at the foot of his bed unclothed and knelt to press his face to the metal frame. He had been like this before, long ago, when a tide took his bottoms and he had stayed there, drifting out, not wanting to emerge on the littered shore so bare, until his father dived and reeled him from the water. A towel fell around his shoulders, clutched in a wrinkled hand.
He reaches the end of the hall and opens the garbage chute. That day at the beach, he saw when his father dived so he swam deeper. He remembers most the strangeness of recognizing his name even at that depth. He howls down the chute.
Mother, near the Texas-Louisiana border
What was that, rising in his throat? He had hacked another piece in two and had heard it. The knick of metal touching metal. He worked his fingers carefully, pausing to thumb a fleshy wall. He did not want to find it; he could very well serve the steak with it inside. But he had already touched something cool, and pressing deeper, saw it, couched in a fleshy wall—his wedding band. He bowed to stare at his stained hands.
-
Too often it seemed he stood in the dark, grasping for some form. In his bedroom on the other side of the state line he used to roll from bed to lie against the cool hardwood floor. And before that, he wandered the house asleep. His mother once told him that she had found him in her closet, between dresses, eyes still closed but hand cupping the fabric to his nose.
That morning, though, when he came into work and was about to slap the meat onto the counter to mince, he paused. Je closed his eyes and shifted the weight of the steak from one arm to the next. He did not want to chop finely nor feverishly. What he wanted and what he had decided, setting the steak aside and tying the apron about his waist, was to feel the matter of this misshapen body, to slice an incision and pocket his wedding band between folds.
-
At the lake last week, when he hoisted himself up onto the dock and she dropped a towel over his shoulders, he could not deny wanting to shrug it off, to slip right back in. Whatever he once clutched, that day years ago, when he pressed his hand through the glass pane at the ticket box and she had held one, he now only sought to let go. Their changed faces, their silence, their gazes—in the car, at dinner, always pointed toward the street, probing—something had moved off and settled elsewhere like a stray.
He grazed her on his way off the dock. It did pain him, to step from that dock and still hear her teeth chatter and look back and see her squeezed into that blue swimsuit, her arms bunched close, a pool blooming at her feet. But he had already stepped off. He had already felt the tickle of pine needles against the soles of his feet and was already moving closer to the light—a campfire? a cabin?—farther on.
-
He stood at the sink, rinsing the ring. He slipped it onto different fingers, then put it down below, in the dishwasher, inside the cup for knives.