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Coming home, it’s a different story. Anyone<br />
can be a victim to my wandering eyes. <strong>For</strong> a lot<br />
of people - I guess I mean specifically women,<br />
but it’s really anyone - that might be a really<br />
horrific thought. What am I doing, with my<br />
eyes? Why are they wandering in that manner,<br />
what shapes are they following, what trends?<br />
What I am doing, though, when I look<br />
at these folk, is finding the lightest<br />
and darkest parts of their faces, the<br />
highlights and the shadows. I make<br />
a big deal out of the word shading,<br />
what a horrible piece of vocabulary,<br />
as if you’re the one throwing shadows<br />
on the people you’ve drawn<br />
flat as a chip.<br />
Value. What a phenomenal piece of<br />
terminology, one of my favorites,<br />
outright. The edges and angles of<br />
the visage, or a coat, or a shoe -<br />
willing them into existence on the<br />
page, finding their weight through the<br />
rebounding light that pours over them<br />
from the overhead lamps. Every line is<br />
another stroke of a chisel, perhaps<br />
this is the same way that the old<br />
masters felt when making the memory<br />
of a man in marble.<br />
Needless to say, I am not unclothing folk in<br />
my head, unless that be the explicit topic of<br />
the day. "Think of everyone in their underwear"<br />
is such a horrible piece of advice and I might<br />
wish death upon whoever thought that up. You<br />
would have no idea what people are into. I<br />
myself would feel terrified to be undressed<br />
like that, or completely out of place being<br />
clothed. What if there is someone pretty on<br />
the train? I don’t want to think about it.