HOW TO AVOID EYE CONTACT
I try to avoid eye contact with strangers when I'm in an enclosed space. Like the bus. In the morning. Despite this aversion, I always sit in one of the sideways-facing seats, so I end up face-to-face with a stranger or two with whom I do not want to share that intimate moment that freezes in time when your eyes recognize their eyes and vice versa and all kinds of frantic interpersonal hell breaks loose as you each register and acknowledge the moment and try to figure out who was looking at who and why and where to look next.
So I stare out one of the long, rectangular panes of glass above and across and watch the city go by. And I've realized that this is kind of like watching a long atmosphere shot in a movie. The music comes up—this morning it was Toumani Diabaté and Ballake Sissoko's "New Ancient Strings"—and the camera tracks right, across the intersection of Sedgwick & North, down past Cobblestone Place and the Noble Horse and so on. Much depends on the weather. Summer sun works well and good with new music, but I've found I prefer a damp morning set to stringy instrumentals—the skyscraper tops disappearing into the thick, rolling gray. Maybe some mist hanging around in the ribs of the el and workmen in orange hammering around the trunk of an Orleans warehouse.
Dave G once told me when my hair was long under my ball cap that I looked like a filmmaker. Maybe I should have been. One's life should match one's hair. And I already have a few atmosphere shots in mind. And the lights come up:
Enter Waxman in a wool overcoat. He turns and closes the door. Glenna is already there, sitting at the kitchen table. Smoke rises from an untended cigarette. The tendrils twist aflame in sunlight.