Lesley Jenike encounters a painting with an intriguing title—The Goodbye Door by Joan Mitchell—at around the same time that she learns about the discovery of remains of infants and small children near a Catholic Church-run home for mothers and babies born out of wedlock in Tuam, Ireland. In this essay, Jenike meditates on Mitchell, Tuam, her own life, internalized misogyny, resistance, synesthesia, narrative, love, and more.