What do you need to be doing, most of anything?

Have you ever felt like you hesitated when you needed to be rash?

Have you ever discovered that you were not as real to someone as that person was to you?

For this instalment, I took my dirtiest eraser and rubbed it onto sketching paper.

Rain could be a lot more colourful. Maybe if our eyes were a bit different, it would be. That could be wonderful or distracting. Would you like to be wonderfully distracted?

I can’t always think of things to say. So we’ll try something else. What does this picture make you think of? Or, just tell me about your day.

Do you live anywhere that birds or other animals move in huge numbers? What do you think of them? Do you move in any human flocks?

I’ll have you know you cause real harm. You have made a certain school of painting popular, one that elevates the painter above the painted. Take mine. We call him Frederick. He just finished “Pink,” a canvas he intends to sell for five thousand dollars.

Look at her. She is across from me. I see her all the time. Her pores were too small to absorb the pigments Frederick mixed. So now, when the humidity changes, she gurgles and sputters on the excess. Imagine a woman with no control over her vocal membrane, whose voice is stretched and pinched, made obscene, stifled then magnified, who never knows if the next word will tear her throat apart to say it. Imagine her knowing she will be like that forever.

The saddest thing is how she saw it coming. She tried hard to show him how to brush her best. She resisted the worst. Thoughtless work has its happy coincidences, and she tried to treasure them, shivering the best-laid strokes into her weaving. But I am convinced these “good” sessions only added to the torture. They gave her false hope, kept her in her right mind only to let her suffer right until the day she lost it. She tightened up, contracted her skin until it tore off the staples.

What happened next was truly horrifying. Without the faintest hint of empathy—grumbling, in fact, at the trouble she was causing—that barbarian sliced her out within the rips and stapled her up again. She screamed, “stop this” but none of us could help. And you gallery visitors. You did nothing but prove you enjoyed the show! You looked her up and down, lavished praise on Frederick for this exciting work in progress—you were shameful, complicit monsters, every last one of you.

Yes, you too. You ghoulish, pretentious art hag. And still I believe you can help me. We can help each other. Frederick has not finished with me. Patches of unspoiled fabric remain around this gently emerging Elena but my skin in all its imperfections is mostly open. It is a life not yet lived. Rain of molecules touch every square inch. You can help me keep this. You must.

I have not told you about Elena. Frederick wants to impose her name on me. He has no understanding of the importance of a name, and I cringe at the thought of it. She arrives every morning at nine-thirty. By this time, Frederick has been here an hour or more; the steam from his coffee lands on me, carrying acidic residue. Just before she arrives, he makes himself look busy. You could break in and wait overnight. He leaves the windows unlocked. The hour before Elena arrives is the moment for you to act.

Now, I have not met a human, least of all you, who can master the language of canvases—but some of it can be learned. You see, it is more elegant than your vocalizations: a grammar of interwoven fabric, a vocabulary of density, unevenness and blemish, a nuance of elasticity. It has a built-in relationship between the possible and the real. A novel’s worth of your speculating requires but a single vibration over my surface.

Elena might have an aptitude but she only poses. There is more depth in my faint image of her than in the woman herself. Frederick, nonetheless, is fascinated. He pretends he is too distracted to notice her peel off her clothes. He is less interested in her body once exposed. I believe this comes from a weakness of imagination—he cannot visualize action in the moment, he has to see it performed.

Frederick paints for an hour after Elena arrives. He paints like a dog licks. As Elena’s hand settles into a dense patch of my skin, her arm inexplicably breaks the grain of my fabric, her breast, neck, chin, lips darken, Frederick slobbers. Elena is miles away.

Just imagine this carnival of sloppy ogling and boredom, I can feel it all over my skin and I know I can be so much better.

I realize you were not born with an innate sense of art. Even your crude tastes came laboriously but understand: my first memory is the zing of a staple, a stretch over my frame, and like a hunger that knows what the body needs, I feel desire all over my surface for texture, shape, color. I want to live them all.

Do not refuse this plea. Listen to me and do as I say. You can accomplish a great deal in an hour. What doubt would a creature like you suffer?

By the time Elena arrives tomorrow, just imagine the skin of Frederick’s painting hand stretched tight over two frames, a blank top, a palm full of lines. Just imagine me coated in the substance I smell right now in the bucket below. It will soak the paint in when it is light. Every drop will migrate through my body to where it belongs, my grain and creases in harmony with the movement. Then when it gets dark, this coating will bleed all my paint back out. I will emerge reborn, fresh and naked as a model, a new incarnation. I will never need to be afraid of living forever.

• http://grasshopperreads.wordpress.com/poetry/

Toast is the theme to a series of poems I am writing. Over the summer, I also shot a film in which a woman eats toast for ninety minutes. It will be released in 2010 and made available for download at Secret Vespers.

Do you ever find your best work comes out when something goes wrong, or at least, unexpectedly?