They recoiled from her like she carried a plague, these townsfolk with their secrets festering beneath pressed smiles and starched collars.
Elizabeth watched them scatter when she appeared, conversations crumbling to ash, laughter strangling in throats. Their eyes sliced sideways, lips curling with barely concealed revulsion as they sought refuge from her penetrating gaze. She’d spent years trying to earn their acceptance, volunteering at church functions, helping with town festivals, offering shy smiles that were met with turned backs.
The curse had branded her at age three, when her tiny hands wielded a crayon like an armament of certainty. That first drawing - her father tangled with the neighbor in Room 112 of the Cozy Cottage Motel - had shattered more than just her family. Her mother’s laughter, high and brittle as she dismissed a child’s scribbles, died the moment she caught them in that exact spot, exactly as drawn.
“You did this,” she’d hissed at Elizabeth later, voice cracking like thin ice. “You made this real.”
Her mother’s bitterness transformed into something darker, more calculated, at lightning speed in the following weeks. “Paint Mrs. Johnson next,” she’d whisper, eyes glittering with malice. “Show everyone what happens in her garden shed after choir practice.”
Each portrait became a blade, each colorful stroke an arrow piercing through carefully constructed facades. In a town drowning in judgment, her mother had found the perfect way to poison the well - one revealed secret at a time. Elizabeth tried desperately to please her, to earn back the warm hugs and gentle smiles of before, but her mother’s love had calcified into something sharp and vengeful.
“You can’t hide from the truth,” her mother would say, watching Elizabeth work with savage satisfaction. “Let them see themselves as they really are.”
And so Elizabeth created, her canvases filled with the screaming colors of other people’s sins, until the weight of unexposed secrets felt heavier than her own cursed gift. Each revelation felt like betraying another chance of belonging.
Whispers slithered through town like poisonous snakes: she was a witch, an oracle, a curse-bearer. But Elizabeth knew better. Her gift didn’t conjure secrets from thin air - it merely stripped away masks, turning hidden truths into explosions of pigment and shadow on canvas.
The townspeople’s accusations crashed against her like waves, but their fear mattered less than their secrets. Still, she yearned for just one person to see past her gift to the lonely girl beneath.
The oil pastels clattered across the floor as her mother flung them into her lap. “Fresh ammunition,” the gesture seemed to say. Elizabeth hunched over her textbook, shoulders curved like a shield against the world. Even now, she could feel Ms. Planter’s nervous energy from that morning, the way the teacher had plastered herself against the hallway wall to avoid contact.
The temptation to reveal what lurked behind those kind eyes and gentle smile gnawed at Elizabeth’s fingers. Once, she’d stayed after class for weeks helping backstage with the Autumn Musical, desperate for the maternal warmth the teacher showed other students.
But even that small comfort had withered under the weight of fear as Ms. Planter and students alike pretended not to see her working in the inky murk of the musty background.
At school, her sketchbook remained closed, even during Wednesday art classes when creative expression flowed freely around her. While other students splashed vibrant hues across blank paper, Elizabeth methodically completed her homework, the scratch of her pencil a quiet rebellion.
Mr. Walker’s relief was palpable each time she turned in blank pages. His passing grades felt less like mercy and more like gratitude. She’d tried so hard to be normal, to be just another student, but her reputation poisoned every attempt at connection.
The clink of forks against plates echoed through their kitchen, a metallic percussion to accompany their nightly performance of studied indifference. “They hate me,” Elizabeth whispered, her words disappearing into the steam rising from untouched meatloaf. She’d spent hours cooking, hoping shared meals might bridge the chasm between them.
“Yes,” her mother replied, attention fixed on her plate as if it held tomorrow’s lottery numbers. She never looked up, never witnessed the tears that trembled on Elizabeth’s lashes or the way her daughter seemed to fold in on herself like origami.
In her mother’s eyes, Elizabeth existed only as a weapon, a paintbrush dipped in truth to slash through the mask of their small town’s carefully maintained lies. No amount of devotion or obedience could win back the mother she’d lost.
Silence crept over her like winter frost, spreading until her voice withered and died. Her lips would move, fishlike, but no sound emerged - as if her throat had forgotten how to shape words into being. The townspeople’s fear crystallized then, hardening into something sharper, more visceral.
They murmured and buzzed that her muteness was another form of sorcery, never realizing they had crafted this curse with their own cruel whispers and sidelong glances, just the same as her art could not exist without their actions to guide it. Her silence became both shield and prison, protecting her from rejection while trapping her in isolation.
Her uncanny talent evolved with her silence. The childish implements had given way to watercolors that bled truth across paper like open wounds. Acrylic paints followed, each stroke revealing darker secrets, until finally her hands found clay and stone. Her fingers coaxed confessions from marble, shaped betrayals in bronze, while she retreated further into her fortress of silence. Each medium became another attempt to speak, to be heard, to matter.
“Hidden Depths” appeared on the corner of the town square, her mother’s crown jewel of poisoned vengeance on a world that had stolen everything from her. Behind its windows, Elizabeth’s creations stood like sentinels of truth, each piece a mirror reflecting the darkness lurking beneath polite smiles and Sunday best.
The townspeople scurried past with averted eyes, terrified of seeing themselves rendered in unflinching detail, even as they whispered about each new revelation over coffee and cocktails. The gallery became her confession booth, where she poured out her longing for acceptance in shapes of stone and splashes of angry color.
School became a distant memory as Elizabeth spent her days curled over her worktable, hands moving as if possessed. Sometimes she wondered if these creations were truly hers, or if she had become merely a conduit for some greater force that fed on secrets and shame. Each piece felt less like art and more like a cry for someone, anyone, to see her.
At dawn, she placed her final work in the gallery window - a self-portrait carved from fractured marble. In it, her stone features emerged from a tangle of grasping hands, each one stealing a piece of her: here a mouth sealed shut, there eyes bound by fingers of fear. The rising sun caught the sculpture’s edges, and for a moment, the imprisoned figure seemed to strain against its bonds, yearning toward freedom.
Through the glass, Elizabeth watched as her reflection overlaid the artwork, completing the truth she had finally dared to reveal - not their secrets this time, but her own. In stone, she had carved every rejected attempt at connection, every spurned offer of friendship, every unanswered cry for unconditional acceptance.
Her shoulder muscles tensed under the weight of her bag as she pivoted toward the station. Bodies pressed against the gallery window, exhaled breaths smeared on glass like frost flowers blooming in winter. Their ghostly faces melted into her carved creation, forcing their eyes to confront their own complicity in her silence.
The asphalt unfurled ahead - pristine, glaring white in the morning’s dawn, beckoning like fresh parchment hungry for ink. Her fingers tingled with unspoken stories, ready to spill truth across surfaces in her raw, unfettered voice.
She dreamed of finding her tribe somewhere beyond the horizon - people who would cradle her gift like the delicate treasure it was, recognizing in its depths not a weapon or curse, but the pure, primal yearning of a child reaching through art’s lens to grasp at understanding, to bare her soul and find, in that naked vulnerability, a place where she truly belonged.
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Hi LeeAnn,
I enjoyed your story a lot. Especially your descriptions. My favourite is "... her canvases filled with the screaming colors of other people’s sins,...". (I see Jack has also listed some other beautiful phrases, including this one in his comment!).
The story made me think in general about artists and art. And how many of them must be driven to create their work by inner pain and conflict like the main character in your story?
It's a great story in my opinion and I plan to read others you've written.
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Being a writer is art, and I think we forget that we paint worlds into existence with words we use. Our art paints images in minds, and they all see our worlds differently, taking our images and seeing them in so many unique ways. To me, this is the most incredible artistic genre because they don't look at concrete images that are immutable; they are given words and are allowed to see whatever their own minds see, using our descriptions of how we see things and pairing it with their own experiences to create something independent and up for interpretation based on their human experience.
What an incredible gift to have—to see something, give that something to others, and have them create countless new things while still feeling connected to us and the world we crafted.
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Beautifully put LeeAnn!
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Wonderful! "Elizabeth’s creations stood like sentinels of truth, each piece a mirror reflecting the darkness lurking beneath polite smiles and Sunday best." Stays with me, makes me wish I could draw.
Jim
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I think you draw with your words, and that's the medium you excel at. I love artists because we creatives a special sort who see the world in a unique way.
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Nicely put. I'm in. 🖌️🎨
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An interesting superpower - to see the foibles and secrets of those around you and express them in clear pictures.
I wouldn't want to be Elizabeth's friend either- All secrets exposed sounds horrible!
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I think one of the most universal fears we share as a species is that others will see through our carefully constructed attempts to fit in, seeing those private parts we hide as well as we can. Even if they don't reveal our secrets to others, just knowing we are that vulnerable to another is difficult for us.
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LeeAnn,
A haunting story. Echoes of Hawthorne’s The Scarlett Letter throughout, Puritan 1600’s Massachusetts. How many of us simply need to leave town, but I wonder if people are the same everywhere? And yet she chose to create her depictions, or maybe was compelled?
The phrases fall like offerings from a hand veined in talent.
“voice cracking like thin ice”
“eyes glittering with malice.”
“screaming colors of other people’s sins”
And my favorites…
“The clink of forks against plates echoed through their kitchen, a metallic percussion to accompany their nightly performance of studied indifference.”
“Bodies pressed against the gallery window, exhaled breaths smeared on glass like frost flowers blooming in winter.”
Great work LeeAnn! Jack
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There is a certain thrill when someone offers a real analysis of something I write. I appreciate that so much. Your writing always pulls me in, so comments on my work from you always mean more than just a generic comment. Thank you, Jack!
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Hi LeeAnn
I really liked The Art of Unmasking, and have an idea I'm hoping you might be interested in.
I am trying to start a private group where the critique goes much deeper than Reedsy, which I love, but Reedsy, for me, is for the most part limited to a great source of encouragement from excellent writers. I'm hoping the group I created on Scribophile ("Jack Kimball's Private Critique Group") can gain members to critique each other's work in depth, plus be a forum to discuss breaking into the publishing world, writing craft, a support network of like-minded writers, etc.
To check it out, I have posted my latest magical realism to https://www.scribophile.com/authors/jack-kimball/works/the-dream-thief-of-cusco
In full disclosure, there is a fee at Scribophile of I believe $15 per month / or $65 per year. (I’m not benefited in any way, affiliate, or whatever). The tools are excellent for critiquing, highlighting, and editing; better than the MFA in creative writing tools I experienced when I was enrolled.
I'm hopeful you will check out my story to see how Scribophile works, which is very cool, but more importantly, post your own work, and I (or other private group members) will give you a far more in-depth critique, as you can for others. You can see the depth of what others have critiqued generally on Scribophile - a site commonly serving as a workshop for publishing authors who post to the membership broadly or to private groups of their own.
Does this idea have merit? Just ignore if not, or you might know someone you could forward this to who is interested in sharing in-depth critiques
Best. Jack
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LeeAnn, I couldn't be happier that you're back. Incredible use of imagery. But of course, we can't help feeling for Elizabeth and going through what she did because of her pathetic excuse of a mother. Lovely work !
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Thank you! First of all, I'm glad to be back. I have been so busy working on my first major project that I neglected so much else.
I also thank you for your complimentary comment. It is always so sweet to see your feedback.
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Revealing art.
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I love how art is so good at stripping everything down and shining a light on things.
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