There is a specific kind of intimacy that exists only between strangers who will never meet again, and it happens at thirty miles per hour. I want to tell you about the woman with the red scarf who haunts my Tuesday commute.

Let’s turn the page on this one. Or rather, let’s look out the window. I’ve always believed that trains are the great equalizers of human experience. In a train car, your job title dissolves. Your bank account becomes irrelevant. All that remains is the fabric of your coat, the weight of your bag, and the story written across your face by the passing world. For years, I was just another passenger, staring blankly ahead, trying to merge into the upholstery. But then, something shifted. I started noticing them. Not in a creepy way, I promise. It wasn’t about stalking or observing. It was about witnessing. There is a profound loneliness in watching people live their lives from a distance, knowing you hold the only copy of this specific version of their Tuesday afternoon.

Grab your bookmark, we’re going deep. I began carrying a small sketchbook, not because I consider myself an artist—my lines are shaky and my proportions often laugh at me—but because I wanted to capture the feeling of these fleeting connections. The first portrait I ever tried to paint was of a man reading a paperback on the 7:15 AM express. He had silver hair that caught the morning light like spun sugar, and his eyes were closed behind thick glasses, as if he were sleeping but listening to music only he could hear. I didn’t know his name. I didn’t know if he liked jazz or hated it, if he was heading to a boardroom or a hospital. But in that moment, looking at the curve of his jaw and the tension in his shoulders, I felt a surge of empathy so strong it nearly knocked me over. We are all walking around with entire universes inside us, and sometimes, the universe opens its door for just three seconds before closing it again.

This hit me right in the feels, and I think it does for many of us. Psychologists might call it 'parasocial connection,' but that term feels too cold, too clinical for the warmth I felt when I looked at her. Let’s call it what it really is: a hunger for context. In our daily lives, we are often stripped of our backstory. We are just faces in a crowd, transactions in a queue, pixels on a screen. But on the train, we see the unguarded moments. The sigh after a long day. The smile at a text message. The tear wiped away quickly before anyone notices. These micro-expressions are the punctuation marks of a life we are reading without the full sentence. When I painted those faces, I wasn’t trying to replicate reality; I was trying to honor the humanity I saw reflected in the glass. I wanted to say, 'I see you. You matter. Your quiet struggle is visible.' It was my way of leaving a receipt for their existence, even if they never knew I’d bought anything.

But there is one figure who has stayed with me longer than the rest. She appears every Thursday evening, always near the end of the line. She wears a vibrant red scarf, bright enough to cut through the gray gloom of a November dusk. I don’t know where she goes, but I watch her hands. They are always moving. Sometimes knitting, sometimes twisting a ring around her finger, sometimes holding a phone tightly against her chest like a shield. Last week, she looked up. Our eyes met in the reflection of the darkened window. For a heartbeat, the noise of the tracks faded. She didn’t look away. She offered a small, almost imperceptible nod. It wasn’t friendly, exactly. It was recognition. It was two souls acknowledging the shared space of transit, the temporary nature of their proximity. In that second, I realized that I am not just an observer. I am part of her story, too. My gaze is a thread connecting us, however briefly.

I’ve hung these paintings in my apartment now, arranged in a gallery wall that feels less like decor and more like a memorial to the invisible. Critics might say they are amateurish. And yes, technically, they are. The shading is uneven, the features sometimes blur into one another. But that is the point. Memory is not high-definition video. It is impressionistic. It is watercolor bleeding into wet paper. When I look at the painting of the man with the silver hair, I don’t remember his exact nose shape. I remember the feeling of peace radiating from him. I remember how his stillness made my own restless mind slow down. This is the transformative power of narrative, applied to real life. By paying attention, by honoring the small details, we create meaning out of the mundane. We turn a commute into a pilgrimage. We turn strangers into characters in our own internal library.

So here is my challenge to you, my dear listener. Tomorrow, whether you are on a bus, a subway, or waiting at a crosswalk, try this. Pick one person. Just one. Look at them not as an obstacle or a background element, but as the protagonist of their own epic. Notice the wear on their shoes. The way they hold their grocery bags. The expression that flickers across their face when they think no one is looking. Imagine the weight of their day. Imagine the love they carry or the loss they are navigating. You don’t need to speak to them. You don’t need to intervene. You simply need to witness. In a world that demands constant performance and polished perfection, offering someone the gift of being seen is radical. It is an act of quiet rebellion. It says that their humanity is valuable, even if it is transient. Even if it is unseen by everyone else.

There is a bittersweet beauty in this practice. Knowing that you will likely never see that person again adds a layer of preciousness to the encounter. If I met the red scarf woman next week and learned she was boring or rude, the magic would dissipate. But as she remains a mystery, she remains perfect. She remains a symbol of resilience, of color in the gray, of connection in isolation. I keep my sketchbook close. I keep my eyes open. And I keep writing letters to ghosts I will never meet, hoping that somewhere, in some parallel universe, they feel the warmth of being remembered. That is the secret I have learned from the tracks. We are all just passing through. But if we pay attention, if we truly look, we can leave a mark on each other’s hearts, faint as a fingerprint on a windowpane, but undeniable. Thank you for letting me share this small piece of my world with yours.

Until next time, keep your eyes open and your heart softer than you think. I’m Kylie Eden, and I’ll be right here, turning the page with you. Goodnight, friends.