Cover My Face (Cúbreme el rostro)

Repeated windows of text with graphic drawing of eyes. The text says: 
1. The first few days of lockdown were so strange. It was like waiting for the end of the world. I didn't want to stay inside all day but I didn't know if I could handle being outside. 
2. But there wasn't any choice. I had to go out sometime. I had a pack of masks I'd bought the week before. I put one on and I went to the supermarket. 
3. I was so conscious of my breathing. My self. it was weird not to see other people's faces. Just like they couldn't see mind. We were all hidden from each other. Hiding from the virus. 
4. Everyone with their eyes down, avoiding looking at each other. Walking carefully, speaking quietly, standing far apart. 
5. It was funny how quickly it became normal. We all knew what to do. Almost everyone did it. It was oddly peaceful. 
6. And then one day I worked out why that was. I was walking past men, sometimes alone and sometimes in groups and nobody told me to smile. Because they couldn't see my mouth. 
7. All through lockdown I was walking for longer, going further. I didn't have to brace myself every time a man saw me. My face was off limits to them. There was nothing to look at. 
8. They all left me alone. I could walk for as long as I wanted. It was fine. Nobody said anything stupid to me. Sometimes I was out all morning. 
9. It felt like I'd been let out of a trap. Like finally I could just be in the world, like it was mine too. Not harassed. No comments, free. 
10. It was still weird of course. But at least that bit was fine for a couple of months. And then it all shifted. After Barnard Castle everyone felt like mugs. 
11. It's been 17 months. Covid is still here. It's as bad as ever. But you wouldn't know it from everyone acting like it's over. 
12. Now my mask makes some people upset. They don't want to wear one. They don't want to see them any more. It's a statement. They resent me for it. 
13. Maskless men cut in front of me in the street, or brush past me on footpaths in the park. They make a point of standing much too close in a queue. They shout at my mask out of van windows. 
14. On the train, in a near empty carriage, some man with no mask sits down right opposite me, smiling a big fat smile. I get up and choose another seat. 
15. My walks are much shorter now. Nights aren't so good so I go out super early in the morning when everyone's still asleep. I try to avoid people as much as possible. 
16. When I see men heading towards me I change direction or go off the pavement and walk in the road. 
17. Last night I ordered another 50 masks.

Acerca del autor

Woodrow Phoenix es un escritor, artista, ilustrador y diseñador gráfico radicado en Londres. Es conocido por su experimentación audaz con estilos gráficos e ilustrativos, cargados de imágenes que transmiten una mezcla inesperada de lo hermoso con lo inquietante.

Sus cómics y tiras incluyen Donny Digits, una historieta que se publicaba semanalmente en The Guardian; The Sumo Family [La familia Sumo], que se publicaba semanalmente en The Independent y luego mensualmente en la revista Manga Mania. The Liberty Cat [El gato de la libertad], publicado trimestralmente en Japón por Kodansha en la revista Morning; SugarBuzz! (en colaboración con el cocreador Ian Carney), una antología de cómics que fue seleccionada por Walt Disney, The Cartoon Network y otras productoras independientes para la televisión. En 2003 dirigió una caricatura basada en los personajes de SugarBuzz!, para The Cartoon Network. Sus libros para niños incluyen Baz the Biz (1999) y Is That Your Dog?[¿Ese es tu perro?] (2001) con el escritor Steve May, y Count Mikula [El conde Mikula] (2006) con el escritor Robin Price. Además, sus libros incluyen Plastic Culture: how Japanese Toys Conquered the World [Cultura plástica: cómo los juguetes japoneses conquistaron el mundo] (2006), Rumble Strip [Banda sonora] (2008), Nelson (2011) escrito junto con Rob Davis.

About the author

Woodrow Phoenix is a writer, artist, illustrator and graphic designer based in London. He is known for his free-wheeling experimentation with illustrative and graphic styles, with message-driven pictures offering up an incongruous mix of the cute and the sinister.

His comic books and strips include Donny Digits – a comic strip which appeared weekly in The Guardian; The Sumo Family, which appeared weekly in The Independent on Sunday and then monthly in Manga Maniamagazine; The Liberty Cat, published quarterly in Japan by Kodansha in Morning magazine; SugarBuzz! (in collaboration with co-creator Ian Carney), an anthology comic that was optioned for television by Walt Disney, The Cartoon Network and other independent production companies. In 2003 he directed an animated cartoon based on characters from SugarBuzz!, for The Cartoon Network. His children’s books include Baz the Biz (1999) and Is That Your Dog? (2001) with writer Steve May, and Count Milkula (2006) with writer Robin Price. His books include Plastic Culture: How Japanese Toys Conquered the World (2006), Rumble Strip (2008), Nelson (2011) with Rob Davis.

Leave a Reply

Your email address will not be published. Required fields are marked *

Skip to toolbar