ABSTRACT
From the distance of a century, Agnes Richter's physical body is still startlingly present. Agnes has stitched the words with hardly any space between them, and in some places, she is reversed the direction of the text, practically superimposing certain words on top of others. Her text does not conform to standard rules of line spacing, spelling, or punctuation. The most striking aspect of Agnes's seventy-six-page case record is that it contains no mention whatsoever of the jacket or any of the other garments Agnes was said to have embroidered in a similar fashion. Agnes's text and her doctors' case record have no point of contact; they literally have nothing to say to one another. The garment was carefully designed to fit Agnes's asymmetrical body shape. Agnes's jacket points us toward a different way of thinking about emotional disturbance.
