My father’s death demolished me. It was perhaps because I had never properly grieved my mother’s leaving that I approached mourning him with fierce intention. Grieving, I learned, was a process of story construction. I needed to construct a story so I could reconstruct my world. There were decisions to make about what to put in and what to leave out.

I wanted to grab his cigarette from his rough lips. I wanted to burn my flesh—any cigarette-sized section of flesh—with it. Then, for just a second, I wanted to burn his flesh instead. Perhaps I wanted to see physical pain in his eyes because I couldn’t see my own pain, not really, not clearly. I was horrified by my thoughts, but my horror did not quiet them.

If I could not find belonging in my story of my father, in my grief, where could I find it? If I belonged nowhere and to no one, then what was I? Who was I?

I cannot remember a time when I wasn’t aware of the fact that I had multiple selves, or a divided self, and that I needed to behave differently with the different groups of people that made up my life. All people do this to some extent, but some must be more skillful at it than others.

At that appointment, I half-lied about the voices. I heard voices, but they were all versions of my own voice or echoes of voices from my past. Those voices were not, I decided, the ones she was asking about. And I lied when I did not tell her about wanting to burn myself and the cook. I lied when I did not tell her about the door that had opened: The only solution is a permanent solution. My psychiatrist did not ask if there was a seismometer in my midbrain that warned of fissures that would widen into deep chasms and, eventually, into an all-consuming abyss. If she had asked about that, I might have answered honestly. It’s difficult to say.

A story is a flashlight and a weapon. I write myself into other people’s earthquakes. I borrow pieces of their pain and store them in my body. Sometimes, I call those pieces compassion. Sometimes I call them desecration.