What do you do when you become aware that another passenger on the bus, or train, is trying to catch your eye? You have a choice between engaging or not, of course, but how do you decide which way to go – and why?
After some
days spent travelling and being in the company of family and friends, my Other
Half (OH) and I had a ‘day off’ and decided to spend part of it together, visiting
one of the art galleries in London, where we were staying. Having decided on
the Tate Britain, we were chuffed to discover that the number 88 bus would take
us, slowly but conveniently, door-to-door. Better still, when we boarded, we
found that two of the front seats on the upper deck were unoccupied, so we
bagged them for the best and cheapest sightseeing tour of the capital (the
route winds through Regent Street, Piccadilly Circus, Trafalgar Square,
Whitehall, Downing Street, the Houses of Parliament and Westminster Abbey).
Before long,
I became aware that the woman in the adjacent seats, who had clocked us as we
settled in, was still taking a sort of sideways interest. Unlike a regular
passenger or commuter, she was not occupied intently with a phone or book, nor
was she staring wearily through the window. She appeared, like us, to have a
child-like relish of just being on the bus. Yet, since she had the same view as
us but no partner with whom to trade comments, she seemed intent on joining in
ours. (All this, I thought, had been apparent only to me, but my OH later said
she had also noticed it, “obviously”.)
After one or two failed attempts to catch the
eye of either one of us, our wannabe friend finally found an opportunity to
make bold when a young woman, against the odds of a long, tight-fitting skirt
and high heels, hurried comically across the road in front of our bus.
There was no
disguising the fact that all three of us were amused by the spectacle and thus was
the ice broken. In the time it took for her to get off three stops later to get
a bowl of porridge at Gail’s, we learned that our new friend was a visual
artist and that she usually cycled this route but was going to the West End to meet
her gallerist and didn’t want to arrive as a sweaty mess. “So, you’re taking a
day off from painting?”, I said. “I suppose so,” she said, “but I hadn’t
thought of it that way”. To her questions about us we responded courteously but
with a degree of prudent reserve. She seemed pleased, however, to have ‘met’ us
and especially so as we were going to see art*.
The next morning,
I went to get coffee and a few moments of reflection at a local café and saw
someone familiar in the queue: the woman on the 88 bus! The question arose as
to whether I should greet her. Seeing as we were just visiting the
neighbourhood, was this a relationship worth pursuing?
I let it lie
until I had emptied my cup, before something drove me to approach her. Whether
it was curiosity, compassion or courtesy I don’t know, but I made the right
call. She was warm and welcoming, asking how we had found the show and telling
me the details of her morning so far.
Then it was
time for another decision: should I extend the conversation or leave it there?
I opted for the latter but, as we shook hands and said goodbye, I had the
feeling that I knew her face, not just from the day before, but from somewhere
in my deep and distant past.
*Hurvin Anderson at Tate Britain, until 23rd
August.