Author: Jeffrey McMahon

  • Breakfast Eschatology

    Breakfast Eschatology

    I no longer want to resolve my eschatological crisis.

    I don’t want to determine the nature of substitutionary atonement, theodicy, and eternity. I don’t want to debate whether hell is eternal, corrective, metaphorical, mistranslated, or the unfortunate product of several centuries of theologians getting overexcited. I’m tired of sifting through my epistemic crisis as though somewhere beneath a pile of Greek nouns I will finally uncover the laminated instruction sheet for the universe.

    I’ve also given up on perfection, physical, spiritual, and otherwise.

    What I really want is a good breakfast.

    Not breakfast at home. Home breakfast has its virtues, but it is essentially maintenance. Oatmeal. Yogurt. Berries. Protein. The nutritional equivalent of changing the oil.

    I want to go to a café.

    A good one.

    I want banana-nut French toast, buttermilk pancakes, poblano eggs Benedict, crisp potatoes, and a waitress approaching with a coffee pot before I’ve even noticed that my cup is half empty.

    More importantly, I want people. Lots of them.

    A true breakfast is communal. Certain movies become better when watched in a packed theater, where laughter moves through the audience like electricity. Breakfast works the same way.

    The lonely café is hell on earth.

    Three customers scattered across twenty empty tables. Fluorescent lights humming overhead. A laminated menu curling at the corners. Somewhere in the kitchen, a microwave beeps with the melancholy finality of a hospital monitor.

    Technically, breakfast is being served.

    Spiritually, the place is already closed.

    The packed café is another universe.

    You open the door and hear the glorious racket of human appetite. Forks strike plates. Coffee cups land on saucers. Children negotiate syrup distribution. Servers weave between tables carrying platters of eggs and potatoes. The room smells of coffee, butter, toasted bread, maple syrup, and potatoes surrendering magnificently to the griddle.

    Every table is occupied.

    A line waits outside.

    This is not merely a restaurant.

    This is evidence.

    I call it Breakfast Eschatology: the abandonment of speculation about ultimate salvation in favor of recognizing modest intimations of heaven in the communal celebration of a magnificent breakfast.

    For years, I have worried about the Last Things.

    What happens after death?

    What is the nature of original sin?

    What are the rigors of postmortem salvation? 

    What did the Greek word aiōnios mean before two thousand years of theology climbed onto its back?

    At some point, the soul develops theological indigestion.

    Enough.

    Bring me the poblano eggs Benedict.

  • Why I Need to Craft “Natty” Wring Prompts

    Why I Need to Craft “Natty” Wring Prompts

    About fifteen years ago, one of my students wrote a personal narrative about losing herself. She was in middle school. Her friends persuaded her to dress in extremely suggestive clothing with tons of makeup. In a revealing outfit that would have caused her mother to have a brain hemorrhage, she looked in the mirror and started crying. “I didn’t even recognize the girl staring back at me,” she wrote. “I wiped the makeup off, got back in my regular clothes, ran home, and cried in bed.” 

    I thought about that image as I started working on some writing prompts for the Fall Semester in which my eighteen-year-old college freshmen contrast writing with AI and writing “natty,” to use an expression that describes “natural” bodybuilders who don’t take performance-enhancing drugs. Generative AI can be a great writing tool, but it tends to overdo everything. Our writing becomes that crying overdone girl staring back at herself, or the bloated bodybuilder who is more cartoon than a celebration of the physique. In all of that generative AI, something gets lost. 

    Us. 

    We can hardly be blamed. Generative AI can feel like magic, taking a 300-word idea and blowing it up into a 2,000-word essay with vivid descriptions, highly stylized metaphors and witticisms, and Socratic rhetorical flourish. Eventually, we begin to believe we are the source of that 2,000-word essay. We flatter ourselves to our own detriment. We lose authenticity. We lose ourselves. We are that middle school girl staring into the mirror and not recognizing who’s looking back at us. 

    Using AI tools with my students for the last four years, I can say from personal experience that writing natty feels cleansing, like going off sugar-laden processed foods. Just as too much dessert causes diabetes of the body, too much generative AI causes diabetes of the mind and soul. We need to carve out natural writing spaces where we can connect with who we truly are before it’s too late. 

  • The TikTok Outlaws

    The TikTok Outlaws

    The streets of my town have been overrun by a new species of desperado: The TikTok Outlaw.

    He is thirteen years old, weighs perhaps 115 pounds, and rides an electric bicycle with the serene confidence of a Hell’s Angel who has recently discovered that nobody can touch him.

    I encounter these young road warriors everywhere. They drift into traffic at twenty miles an hour, wobbling in front of cars as though the double yellow line were merely a suggestion left over from a more uptight civilization. Sometimes they turn their heads toward the trapped motorist behind them and flash a triumphant grin.

    The message is unmistakable:

    We own you.

    And, maddeningly, they’re partly right.

    The genius of the TikTok Outlaw is that he has discovered weaponized vulnerability. He is tiny. I am driving several thousand pounds of steel. Under ordinary circumstances, this arrangement should make him cautious.

    Instead, it makes me cautious.

    He knows I will brake.

    He knows I will swerve.

    He knows that I possess insurance, a driver’s license, a conscience, a mortgage, a family, and an overwhelming desire not to spend the remainder of my life explaining why a seventh-grader became permanently embedded in the grille of my car.

    He possesses an e-bike.

    Advantage: seventh-grader.

    The more sophisticated TikTok Outlaws have apparently developed operational security. Some leave their phones behind so parents can’t track their whereabouts. When injuries occur, according to reports I’ve encountered, some have even tried using false names to keep Mom and Dad from discovering that the afternoon bicycle ride somehow concluded in an emergency room.

    This is no longer Leave It to Beaver.

    Wally isn’t asking permission to ride over to Lumpy Rutherford’s house.

    He’s establishing an alias.

    The police, meanwhile, face an unenviable problem. They can monitor social media for planned meetups in which groups of young riders converge on streets and intersections. A dozen e-bikes arrive. Traffic stops. Motorists fume. Phones emerge.

    And that’s the essential ingredient.

    The TikTok Outlaw doesn’t merely want to cause chaos.

    He wants content.

    Without the camera, blocking an intersection is adolescent stupidity. With the camera, it becomes a production.

    The riders are the stars.

    The motorists are unpaid extras.

    The police are villains.

    And the street itself has become a soundstage for the next twenty-second installment of Kids Giving It to the Man.

    This is what distinguishes the TikTok Outlaw from the juvenile delinquent of previous generations. Teenagers have always possessed an impressive capacity for idiocy. That isn’t new. Adolescence has never been famous for its risk-management department.

    What’s new is the audience.

    The idiot of 1978 could impress six friends.

    The idiot of 2026 can fantasize about impressing six million strangers.

    Social media has industrialized adolescent exhibitionism.

    Now public outrage isn’t necessarily punishment. It’s production value. An angry driver leaning on his horn improves the clip. A police officer arriving improves it further. A confrontation is better still.

    The more furious civilization becomes, the better the footage.

    Naturally, the police can intervene. They can issue citations, confiscate illegal vehicles where the law permits, contact parents, patrol gathering places, and disrupt planned meetups.

    But enforcement begins to resemble a man standing beneath Niagara Falls with a roll of Bounty.

    The numbers are too large.

    Another group appears.

    Another intersection becomes a stage.

    Another phone goes up.

    Meanwhile, ordinary motorists crawl through the spectacle with clenched jaws, aware of the exquisite asymmetry governing the encounter.

    We must behave responsibly.

    They don’t.

    That’s their power.

    Civilization depends upon millions of people voluntarily agreeing to certain boring propositions: red means stop, sidewalks are for pedestrians, roads have lanes, and deliberately terrifying strangers isn’t an acceptable recreational activity.

    The TikTok Outlaw discovers that these rules can be exploited precisely because most people still obey them.

    He swerves.

    You brake.

    He laughs.

    You grip the steering wheel.

    He has discovered one of the darker secrets of civilized life:

    The person with the least regard for consequences can temporarily become the person with the most power.

    Perhaps most of these kids will eventually grow out of it. Their frontal lobes will finish construction. Jobs, families, insurance premiums, and the accumulated humiliations of adulthood will perform their ancient civilizing work.

    One day, perhaps, today’s TikTok Outlaw will be forty-five years old, driving home after a long day at work.

    Then a thirteen-year-old on an electric bicycle will drift directly in front of his car, turn around, and grin.

    And somewhere deep inside the middle-aged driver’s soul, an ancient debt will finally come due.

  • The TV Series Best Medicine Is Cognitive Comfort Food

    The TV Series Best Medicine Is Cognitive Comfort Food

    The television series Best Medicine follows a neurotic, antisocial city doctor who relocates to a small coastal town in Maine and discovers, to his horror, other human beings. Gradually, the townspeople penetrate his emotional armor and teach him how to connect, belong, and presumably stop behaving like someone who regards casual conversation as an infectious disease.

    We’ve been here before. Northern Exposure built an entire world around the city doctor exiled among lovable eccentrics. Schitt’s Creek perfected the transformation of prickly outsiders through prolonged exposure to decent people. Best Medicine doesn’t pretend to have discovered a new continent. It arrives at a familiar resort, puts its suitcase on the bed, and settles in.

    Nor is it profound television.

    No one is going to teach a graduate seminar on its metaphysics. You don’t finish an episode and stare silently through the window while reconsidering the foundations of Western civilization. The characters are eccentric but lovable, the town is picturesque, the conflicts remain manageable, and a warm heart beats beneath the entire production.

    Naturally, I enjoy it.

    My wife and I can sit down together and enter this agreeable little Maine universe where damaged people are basically decent, neighbors care about one another, and the human condition can usually be repaired before bedtime.

    This is Cognitive Comfort Food: warm, undemanding entertainment consumed not because we’ve abandoned serious thought but because serious thought occasionally needs to shut up.

    The distinction matters.

    I know Best Medicine can be sentimental. The show knows it too. You can practically see the writers wheeling the emotional casserole into the oven. Here comes the lonely eccentric. Here comes the misunderstanding. Here comes the unexpected kindness. Give it forty-five minutes at 350 degrees and somebody will learn something about friendship.

    Fine.

    I’ll have seconds.

    Normally, sentimentality makes me suspicious. I can see the machinery. I can hear the violins warming up behind the curtain. I know when a television show is reaching into my chest and squeezing the designated emotion gland.

    But there are evenings when I don’t want to fight it.

    The real world has already done enough.

    To say that the world is nasty is hardly an insight. Human beings have been murdering, cheating, betraying, invading, exploiting, and humiliating one another since somebody first discovered that a rock could be used for something other than sitting.

    What has changed is our access to the spectacle.

    We now carry a global misery-delivery system in our pockets.

    War before breakfast. Political outrage with lunch. Murder during the afternoon. Environmental catastrophe before dinner. Then a few minutes of social-media lunacy before bed, just in case the nervous system had somehow retained a molecule of serenity.

    Scroll.

    Atrocity.

    Scroll.

    Corruption.

    Scroll.

    Some lunatic screaming into a camera from the driver’s seat of his car.

    Scroll.

    Civilization apparently ending again.

    Against this backdrop, Best Medicine begins to look less like escapism than neurological first aid.

    For an hour, nobody is trying to overthrow a government.

    Nobody is uploading a manifesto.

    Nobody is explaining why the apocalypse will arrive Thursday.

    Instead, a neurotic doctor is learning to tolerate his neighbors in coastal Maine.

    Perfect.

    Cognitive Comfort Food works because it asks very little from us. Serious art can be magnificent, but serious art is greedy. It wants attention. It wants interpretation. It wants us to confront ambiguity, suffering, mortality, moral compromise, unreliable narrators, fractured identities, and the terrifying possibility that the protagonist’s crisis is somehow our crisis.

    Sometimes I don’t want a crisis.

    Sometimes I want mashed potatoes.

    This doesn’t mean I’ve surrendered my standards. I haven’t decided that every television show should resemble a Hallmark movie in which a high-powered attorney returns to Vermont, saves the family Christmas-tree farm, and marries a carpenter named Luke.

    There is a difference between living on Cognitive Comfort Food and occasionally needing it.

    Nobody should eat cheesecake for every meal.

    But after chewing through the gristle of contemporary life all day, a little cheesecake isn’t evidence of moral collapse.

    Nor does watching an uncomplicated television show necessarily dumb us down. The opposite may occasionally be true. The brain needs recovery just as the body does. Nobody finishes a hard workout and announces that resting afterward represents a betrayal of physical fitness. Yet we sometimes imagine that an intelligent person should remain intellectually clenched from breakfast until bedtime.

    Read the difficult novel.

    Study the political crisis.

    Listen to the serious podcast.

    Watch the prestige drama about intergenerational trauma.

    Contemplate death.

    Repeat.

    Eventually the brain files a grievance.

    So my wife and I sit down and watch Best Medicine.

    We forgive its sentimentality.

    We forgive its lovable eccentrics.

    We forgive the suspiciously therapeutic properties of small-town Maine.

    Most importantly, we forgive ourselves for enjoying it.

    Tomorrow there will be plenty of time for difficult books, serious arguments, moral ambiguity, and the latest evidence that civilization is being operated by raccoons who have broken into the control room.

    Tonight, I’ll take the mashed potatoes.

    The brain needs comfort food too.

    Sometimes that’s the best medicine of all.

  • The Discipline Ceiling

    The Discipline Ceiling

    When I followed baseball in the 1970s, certain teams seemed to have permanent reservations in the cellar. The Milwaukee Brewers. The San Diego Padres. The Washington Senators. I didn’t need to study the standings. I knew where to find them.

    At the bottom.

    Eventually, losing ceased to seem like a temporary condition and became a form of civic identity. Other teams competed for pennants. These teams competed for mathematical elimination sometime around Memorial Day. Their fans could open the sports page in August without anxiety. There would be Milwaukee, comfortably settled into the basement, unpacking boxes and hanging pictures on the walls.

    This is roughly my relationship with 230 pounds.

    For seven years, I have tried to break through that number and descend toward my promised land of 210. Occasionally I approach the border. I eat well. I exercise. I begin imagining myself entering the exotic kingdom of the 220s.

    Then 230 appears at the checkpoint.

    Not so fast.

    At this point, 230 doesn’t merely exist. It has developed a personality. It flexes its biceps. It smokes a cigar. It leans against the clubhouse wall with the serene confidence of a last-place team holding a twenty-game lead over its nearest competitor.

    Go ahead.

    Try something.

    I’ll be here.

    And it is.

    I eat mostly whole foods. In the morning, steel-cut oats. Later, a protein-heavy salad. After my nap, Greek yogurt. Dinner is protein and vegetables. I monitor portions. I exercise. I generally keep my calories below 2,500.

    Then I step on the scale.

    230.

    It’s like opening the sports page in 1974.

    Milwaukee: last place.

    Of course.

    At this point, the fitness tribunals will convene.

    “You’re eating too much.”

    Fine.

    “Reduce your calories.”

    I have.

    “Reduce them more.”

    And here we arrive at The Discipline Ceiling: the point at which a person is technically capable of imposing additional restrictions upon himself but decides that the marginal improvement isn’t worth making everyday life more miserable.

    This distinction matters because whenever weight loss stalls, the discussion inevitably becomes moral.

    You lack discipline.

    You don’t want it badly enough.

    You’re making excuses.

    Really?

    Come spend a week with me.

    Enjoy the steel-cut oats.

    Have another salad.

    Marvel as I spoon Greek yogurt into my mouth for approximately the ten-thousandth time.

    Then join me for dinner, where once again protein and vegetables await like two elderly relatives who have been sitting in the same chairs since the Eisenhower administration.

    I have discipline.

    What I don’t have is any interest in escalating it indefinitely.

    Could I eat 1,900 calories a day?

    Probably.

    Could I start intermittent fasting?

    Certainly.

    Could I go to bed hungry, wake up hungry, drink black coffee while contemplating mortality, and spend the afternoon fantasizing about a baked potato?

    Absolutely.

    I could probably reach 210 if I were willing to make weight loss the organizing principle of my existence.

    But I’m not.

    That’s my Discipline Ceiling.

    The modern optimization culture has difficulty accepting such a ceiling because its governing philosophy is that every measurable human characteristic should be improved until either perfection or death intervenes.

    Weight too high?

    Eat less.

    Still too high?

    Eat less than that.

    Hungry?

    Excellent. The program is working.

    Miserable?

    Even better. Misery demonstrates commitment.

    Soon enough you’re weighing blueberries on a digital scale and wondering whether licking the spoon requires an entry in MyFitnessPal.

    At some point, I decline.

    This doesn’t mean I’ve discovered that calories don’t matter or that my body has repealed the laws of thermodynamics. If I consistently ate substantially less, I would almost certainly lose additional weight.

    The question isn’t whether I can impose more discipline.

    The question is how much of my remaining life I’m willing to surrender to it.

    There is always another restriction available.

    Skip breakfast.

    Eliminate starch.

    Reduce dinner.

    No food after six.

    Fast sixteen hours.

    Fast eighteen.

    Count almonds.

    Fear bananas.

    Treat a tablespoon of peanut butter like an uncontrolled substance.

    Eventually you can become so disciplined that you spend your entire day thinking about the food you’re heroically not eating.

    No thanks.

    I would still like to weigh 210. I would enjoy seeing 225, then 220, then perhaps one glorious morning stepping onto the scale and seeing a number beginning with 21.

    But there are terms.

    I’ll eat nutritious food. I’ll control my portions. I’ll exercise. I’ll tolerate some hunger. I’ll maintain a degree of dietary monotony that would make a monastery cafeteria look like the Bellagio buffet.

    But I will not turn eating into punishment.

    That is the ceiling.

    Perhaps this means I’ll remain at 230.

    Perhaps 230 is my Milwaukee Brewers.

    If so, I’ll continue trying to climb out of the cellar—but I’m not going to set fire to the clubhouse to prove how badly I want the pennant.

    There is discipline.

    And then there is making your entire life kneel before a number on a bathroom scale.

    I’ve reached the ceiling.

    I’m not climbing through it.

  • The Vanity Portal

    The Vanity Portal

    I have learned that something good can occasionally crawl out of an embarrassing place.

    For years, I have entertained a recurring fantasy so vainglorious that merely describing it makes me want to hide under a table. Yet somewhere inside this monument to my own magnificence, I discovered what I call The Vanity Portal: the strange passage through which a fantasy of being admired unexpectedly opens onto a sincere desire to become good.

    The fantasy takes me back to 1983. I am twenty years old again, working at Jackson’s Wine & Spirits in Berkeley, where I actually worked while attending college. But fantasy has renovated the premises. The wine bar now sits conveniently beside a grand piano, because apparently my unconscious has obtained an unlimited remodeling budget.

    I am not merely an employee.

    I am the entertainment.

    I even have a stage name:

    Lachyrmose.

    There is a ritual to my appearances.

    I am in the beer box, tearing apart cardboard cartons and doing the grubby work of a liquor-store employee, while customers at the wine bar begin demanding music.

    “Lachyrmose!”

    I make them wait.

    “Lachyrmose!”

    Eventually I emerge from the beer box looking like a survivor of industrial combat. Shreds of cardboard cling to my clothes. A sharp carton has scratched my face. My arms bear little cuts and bruises. I am exhausted.

    This is crucial to the fantasy.

    I cannot simply be a gifted pianist. That would be insufficiently magnificent. I must also be a working-class hero who has just finished wrestling cases of beer before casually sitting down at a grand piano and revealing the soul of Rachmaninoff.

    The customers grow quiet.

    Lachyrmose begins to play.

    Melancholy music fills the wine bar.

    On one particularly ambitious occasion, Peter Gabriel and Steve Hackett happen to be sitting among the customers. They are staying at the nearby Claremont Hotel and have wandered into Jackson’s for a little wine and relaxation.

    Naturally, they are astonished.

    Who is this young man?

    Minutes ago he was dismantling beer cartons. Now he is producing music of heartbreaking beauty with a completely formed artistic voice. Gabriel and Hackett exchange glances. They understand immediately that they have stumbled upon some rare creature—a bruised liquor-store employee with the soul of a European composer.

    At this point the fantasy has become so narcissistic that it should probably require a permit.

    But then someone else enters it.

    A homeless woman.

    Unlike Peter Gabriel and Steve Hackett, she comes from an actual memory.

    I remember seeing her near Jackson’s wearing a red wig she had apparently found in a dumpster. She stood before the reflective glass of a newspaper rack, admiring herself in her new acquisition. The wig was garish and artificial, but she looked at her reflection with pleasure. For a moment, this discarded object had given her something beautiful.

    In my fantasy, she joins the customers at the wine bar.

    I begin playing.

    She listens for a while and then falls asleep.

    The melancholy piano music washes over her as she dozes in her ridiculous red wig. Peter Gabriel listens. Steve Hackett listens. The wine drinkers listen. But gradually they cease to matter.

    When the recital ends, the woman wakes.

    She thanks me for the music.

    I give her a bag filled with deli sandwiches to take with her.

    Of course Gabriel and Hackett witness this too. My unconscious is not yet willing to surrender the production entirely. They were already impressed by my piano playing; now they discover that Lachyrmose is also a humanitarian.

    Apparently musical genius wasn’t enough.

    I required sainthood.

    But then the fantasy changes.

    The woman thanks me for the recital and the sandwiches, and I tell her that no thanks are necessary.

    It was an honor to play for her.

    And I mean it.

    That is the moment when I pass through The Vanity Portal.

    Something strange happens. The fantasy stops being entirely about admiration. Peter Gabriel disappears. Steve Hackett disappears. The wine bar disappears. Even Lachyrmose begins to disappear.

    There is only the woman in the red wig.

    And I love her.

    Not romantically. Not sentimentally. I feel an overwhelming tenderness toward this forgotten person who possesses nothing, who found a discarded wig and briefly admired herself in the glass of a newspaper rack.

    In the fantasy, I tell her that playing for her was an honor.

    But the tears aren’t imaginary.

    I am actually sitting at my piano, playing music and crying.

    This is what disturbs me about the fantasy and prevents me from dismissing it as mere narcissistic theater.

    I struggle with Christianity. I struggle with its doctrines, its claims about salvation, its diagnosis of the human condition, and the enormous theological machinery built around Jesus. I can argue with all of it.

    But in that moment at the piano, I experience something I can only describe as the love of Jesus.

    Not doctrine.

    Not theology.

    An impulse.

    The desire to look upon someone whom the world barely sees and regard serving her not as charity but as an honor.

    And suddenly my ridiculous fantasy has shown me something I didn’t know was there.

    I want to be good.

    I want a pure heart.

    Unfortunately, even my fantasy of purity arrives contaminated by vanity. I cannot simply feed a homeless woman. Peter Gabriel and Steve Hackett must be sitting nearby taking notes. I cannot simply play the piano. I must emerge from the beer box bloodied by cardboard, sit before an awestruck audience, and reveal myself as Lachyrmose.

    The ego insists upon producing the show.

    But perhaps this is how The Vanity Portal works.

    We enter carrying our vanity, our fantasies, our desperate need to be admired. We imagine ourselves beautiful, talented, heroic, compassionate. The entire production may be absurd.

    Then, somewhere inside the performance, something genuine appears.

    The fantasy begins:

    Look at me.

    But if we’re fortunate, somewhere along the way another voice emerges:

    Look at her.

    And for a moment, we do.

  • Autobiographical Time Lag

    Autobiographical Time Lag

    I am obsessed with accurate watches. I own radio-controlled G-Shocks that communicate with atomic clocks in the middle of the night, correcting themselves so that I don’t have to endure the indignity of being three seconds late to nowhere. I put them near windows to improve reception, check whether they synchronized overnight, and derive absurd satisfaction from knowing that the watch on my wrist agrees with official time down to the second.

    Yet I’ve recently discovered an embarrassing irony: while my watches keep nearly perfect time, the clock inside my head is hopelessly slow. Ask me how long I’ve been teaching, lifting weights, trying to write books, or engaging in any of my other lifelong enterprises, and I routinely misplace entire decades. My G-Shock may be off by half a second. My autobiographical clock is off by twenty years.

    This discrepancy recently surfaced in a dream about my friend Adam, whom I’ve known since 1998, when he took my college writing class. Adam went on to build a successful career in advertising and branding, married, had a daughter, and now works from home. Perhaps because of his professional expertise, my dreaming mind decided that Adam was precisely the man to stage an intervention.

    With my retirement approaching, he apparently concluded that my malfunctioning internal clock required professional attention. He took me to an office specializing in something I didn’t know existed: the rebranding of human beings.

    I was immediately suspicious.

    “Rebranding” is one of those words that makes me reach instinctively for my wallet. I imagined consultants with expensive eyeglasses explaining that retirement represented an exciting opportunity to “reimagine my personal narrative” while helping me establish an Instagram presence in which I would pose beside cappuccinos and announce that sixty-five was the new forty-five.

    No thanks.

    But the woman assigned to me wasn’t like that.

    She was maternal, down-to-earth, dressed in jeans and a football jersey. No power suit. No TED Talk headset. No laminated diagram explaining My Journey. She had the reassuring manner of someone who might help you change a tire and then send you home with a casserole.

    She explained that retirement required more than leaving my job.

    I had to reinvent myself.

    Worse, I had to rebrand myself.

    I prepared to resist, but something about her practical manner disarmed me. Fine. Ask your questions.

    She began with the basics.

    How old was I?

    How many years had I been teaching?

    How long had I been trying to write novels?

    How many years had I been trying to lose weight?

    How long had I been lifting weights?

    Easy questions.

    Except I got nearly every answer wrong.

    Not slightly wrong.

    I was shaving decades off my life.

    “How long have you been teaching writing?”

    “About twenty years.”

    She looked at her records.

    “Forty.”

    Oh.

    Next question.

    “How long have you been lifting weights?”

    “Forty years.”

    Another glance at the paperwork.

    “Fifty-four.”

    Excuse me?

    Apparently I had begun lifting weights sometime during the Nixon administration and simply neglected to update my internal records.

    The interrogation continued.

    Every number I produced was suspiciously flattering. Years disappeared from my career. Decades vanished from my ambitions. Entire geological periods evaporated from my biography.

    I had apparently been cooking the chronological books.

    That’s when I realized I suffered from Autobiographical Time Lag: the discrepancy between one’s actual age and the age assumed by one’s interior sense of self.

    I know how old I am.

    Of course I do.

    But apparently some deeper part of my brain does not.

    That brain maintains a fraudulent set of books in which everything happened twenty years ago. I’ve been teaching for twenty years. I’ve been lifting for forty. I’ve been struggling with my weight for a while. I’ve been trying to become a writer for a reasonable amount of time.

    Then the auditor from the Department of Time arrives.

    Forty years.

    Fifty-four years.

    Decades.

    Decades.

    More decades.

    The horror of aging is partly numerical. You don’t experience yourself as a stack of calendar pages. Consciousness feels continuous. The thirteen-year-old who picked up his first weights doesn’t seem like some extinct ancestor whose bones were recently discovered beneath a shopping mall.

    He’s me.

    I can still feel him in there.

    So my brain performs an enormous act of biographical compression. It takes fifty-four years of lifting weights and somehow files them under “I’ve been doing this for a long time.”

    But fifty-four years isn’t a long time.

    It’s a civilization.

    I’ve been lifting weights longer than many of the people I work with have been alive. Presidents have come and gone. The Soviet Union collapsed. The Internet appeared. Phones became computers. Artificial intelligence began helping me write essays about how old I am.

    And through all of it, apparently, I’ve been doing curls.

    The same distortion applies to teaching. Forty years sounds preposterous. Surely I haven’t been standing in front of college writing classes for four decades.

    But I have.

    I’ve taught through chalkboards, dry-erase boards, overhead projectors, PowerPoint, Canvas, online instruction, Zoom, and artificial intelligence. At this point I’m less a professor than a sedimentary record of educational technology.

    The woman in the football jersey understood something I didn’t.

    Before I could reinvent myself for retirement, I had to locate myself accurately on the map of chronological time.

    I couldn’t begin the next chapter while pretending I was halfway through the previous one.

    That, I realized, was the purpose of the strange rebranding office. They weren’t going to manufacture some shiny post-retirement identity for me. They weren’t going to turn me into Professor 2.0, complete with a podcast, personal logo, and inspirational LinkedIn posts about embracing change.

    They were performing an intervention.

    The first step wasn’t reinvention.

    It was arithmetic.

    I kept giving the woman the age of the man I felt myself to be.

    She kept giving me the age of the man who actually existed.

    And the numbers refused to negotiate.

    Perhaps that’s the strangest thing about getting older. The calendar ages with perfect accuracy, but my autobiographical clock is running slow.

  • The Volume Knob Principle

    The Volume Knob Principle

    When I returned from my family vacation on July 30, 2026, I stepped on the scale and saw 236 pounds.

    At sixty-four, that put me twenty-six pounds above my goal of 210 and six pounds above a barrier I hadn’t managed to penetrate since 2019.

    This called for action.

    Unfortunately, my preferred response to a problem is sometimes to attack it with a flamethrower.

    Within four days, I dropped to 230. Much of that was undoubtedly vacation water weight, but I was encouraged. The campaign had begun. I would eat properly, train hard, and finally break through the 230 barrier.

    Then I made the mistake of confusing enthusiasm with wisdom.

    I exercised every day for eleven consecutive days. Some days I did sixty-eight minutes of kettlebell circuit training followed by an hour on my Schwinn Airdyne. The kettlebells weren’t particularly heavy, but I kept moving. Then came the bike, where exercise ceased to be exercise and became a hostage negotiation with the calorie counter.

    My target was 700 calories.

    Not 620.

    Not 650.

    Seven hundred.

    I would climb onto the Airdyne and begin pedaling like a man attempting to power Southern California during a blackout. The fan roared. Sweat poured off me. My legs churned. I stared at the monitor as though the glowing digits were reporting my moral worth.

    All this punishment produced a fascinating result.

    I didn’t lose another pound.

    After eleven days of dietary virtue and exercise fanaticism, I still weighed 230.

    Then something worse happened.

    On the eleventh day, I got on the Airdyne and my body resigned.

    Normally I could grind my way toward 700 calories. This time I barely reached 300. My legs were empty. My energy vanished. It felt as though someone had opened a panel in my back and removed the battery.

    Fine, I thought. I’m exhausted. I’ll rest.

    I couldn’t.

    I crawled into bed physically demolished yet strangely agitated. Instead of relaxation came anxiety. I tossed and turned, frightened by the depth of my exhaustion. For most of my life, exercise had been one of my great sources of bliss. Now it had entered the Fear Dungeon. I had pushed myself hard enough that the thing I associated with vitality suddenly seemed capable of hurting me.

    I began wondering whether I had crossed some invisible line.

    Then I thought of Arnold Schwarzenegger.

    Arnold has inspired me since I was thirteen. Now in his late seventies, he reportedly still trains seven days a week for about ninety minutes: forty-five to sixty minutes of cycling followed by roughly thirty minutes of weights.

    Seven days a week.

    At nearly eighty.

    I couldn’t survive eleven.

    Was something wrong with me?

    Then, during my next kettlebell workout in the garage, I had a revelation that should have occurred to me considerably earlier.

    Arnold isn’t trying to kill Arnold.

    The older Arnold isn’t reenacting Pumping Iron every morning. He’s not storming into the gym with Wagner blasting while attempting to punish every muscle fiber for the crime of aging. His workouts appear considerably more civilized. He rides his bike. He lifts. He talks to people. He jokes. A man of immense charisma, he holds court. For Arnold, the gym is partly exercise and partly social club.

    Meanwhile, I’m alone in my garage behaving as though the Schwinn Airdyne knows where the bodies are buried.

    The difference isn’t necessarily discipline.

    It’s volume.

    I began imagining my exercise program controlled by a giant amplifier knob.

    Mine was turned to Eleven.

    Nigel Tufnel would have approved.

    Every workout had to be harder. Every bike session had to produce the magic number. Every day off looked suspiciously like weakness. If 600 calories was good, 700 was better. If four workouts were productive, eleven consecutive workouts must transform me into a Greek god sometime before Labor Day.

    Except my body wasn’t becoming a Greek god.

    It was filing a grievance.

    That’s when I arrived at The Volume Knob Principle: sustainable fitness isn’t about turning effort as high as it will go. It’s about finding the highest setting from which your body can reliably recover.

    For me, Eleven was not heroic.

    Eleven was stupid.

    So I’m turning the knob down to Seven.

    I’ll continue my kettlebell circuits because I enjoy them. But I’ll allow myself a minute of rest when I need it. I’ll trim the workouts from sixty-eight minutes to about sixty-three and limit them to three days a week.

    The Airdyne requires a more dramatic intervention.

    Getting 700 calories in under an hour was beating me up. Doing it three or four times a week was beating me up with a folding chair after I was already on the ground.

    So the bike goes down to twice a week.

    And 700 loses its throne.

    The new target is 600.

    This sounds easy until you understand the psychology of the calorie counter. Once you’ve repeatedly produced 700, anything less starts feeling like moral decline. The machine reports 600 and some primitive voice says, Pathetic. You used to be somebody.

    That voice needs to shut up.

    Six hundred isn’t a failed 700.

    Seven isn’t a failed Eleven.

    A rest day isn’t evidence of decadence.

    At sixty-four, perhaps the great fitness challenge isn’t learning how hard you can push yourself. I mastered that trick decades ago. The harder lesson is learning when pushing harder becomes indistinguishable from stupidity.

    I can’t train exactly like Arnold.

    I don’t need to.

    I can steal the more useful lesson from the older Arnold: keep moving, keep lifting, keep showing up—but stop treating every workout like the beaches of Normandy.

    Turn down the Volume Knob.

    Eleven makes more noise.

    Seven lets you keep playing.

  • The Edna Challenge

    The Edna Challenge

    My great-grandmother Edna was born in Poland shortly before 1900. In 1904, when she was still a little girl, pogroms swept through her city and her parents were massacred. She was taken in by a cruel stepmother who treated her less like a daughter than a household slave.

    Somehow, in 1911, Edna escaped. Still a girl, she crossed an ocean and arrived in New York.

    The family she left behind would fare even worse. Much of it was eventually annihilated by the Nazis. Her older brother Ellis, his wife, and their two children were sent to Auschwitz. His wife and children were murdered there. Ellis survived, came to New York after the war, became a dentist, and eventually retired to Miami.

    Edna married a man afflicted with severe arthritis. A doctor prescribed injections of gold, a treatment that sounds today like something devised by an alchemist with excellent malpractice insurance. The gold didn’t cure him. His condition worsened until he became an invalid, leaving Edna with the exhausting responsibility of caring for him.

    By the time I met her, in 1968, her husband was dead and Edna was living in Leisure World in Seal Beach.

    I was six.

    I loved her immediately.

    She spoke with a thick Polish accent and carried a melancholy that somehow made me feel safe. She cooked savory kasha dishes for me and let me sit beside her watching soap operas. Her favorite was As the World Turns. Edna, who had survived pogroms, an abusive childhood, immigration, family annihilation, and years caring for an invalid husband, could become magnificently agitated over the romantic judgment of a fictional woman on daytime television.

    When some charlatan started courting one of the female characters, Edna would shake her fist at the television.

    “Leave him!”

    Apparently surviving the twentieth century did not prepare her to tolerate a bad boyfriend.

    I found this deeply touching. Life had given Edna every conceivable reason to withdraw from the world, yet there she was, emotionally invested in some ridiculous soap-opera romance as though civilization itself depended upon this woman dumping the bum before the next commercial break.

    Edna was ethnically Jewish, but as far as I could tell, she wasn’t religious.

    And here begins what I call The Edna Challenge.

    The Edna Challenge is the difficulty of reconciling Christianity’s diagnosis of universal spiritual deficiency with the memory of a nonreligious person who seemed morally whole without religion.

    Edna didn’t strike me as someone waiting to be completed.

    She possessed a fierce moral intelligence. Once, one of her great-grandchildren, a red-haired boy with serious behavioral problems, knocked my younger brother off a bunk bed. My brother landed hard and began crying, a large bump rising on his head.

    Edna gathered him into her arms and rocked him.

    Then came the verdict.

    “He is not worthy of being my great-grandchild.”

    There was no committee meeting. No therapeutic language. No discussion of developmental stages or impulse control. The Supreme Court of Edna had convened, heard the evidence, and handed down its decision.

    I loved her all the more for it.

    Her daughter Mildred, my maternal grandmother, wasn’t religious either. When I was eight, she told me plainly that she believed this earthly life was the whole story. No heaven. No afterlife. No celestial sequel.

    Like Edna, Mildred seemed complete to me.

    Neither woman appeared to experience herself as fallen, spiritually dead, estranged from God, or afflicted by some invisible metaphysical disease requiring a supernatural cure. They loved people. They made moral judgments. They endured suffering. They possessed humor, loyalty, anger, tenderness, and dignity.

    I cannot look backward and identify the missing piece.

    Then there’s me.

    I’m a different beast altogether.

    When I read Paul’s Letter to the Romans, I feel as though Paul has somehow obtained my psychological records. I know what I should do and don’t do it. I do things I have already decided I shouldn’t do. Appetite fights judgment. Vanity fights humility. Intention fights behavior. The person I am seems perpetually at war with the person I believe I should become.

    Paul describes the divided consciousness, and I recognize the address.

    I understand the hunger for salvation because I experience the condition for which salvation appears to be the remedy. I want the wholeness and holiness Paul describes. I understand what it means to feel incapable of repairing yourself with the same machinery that keeps producing the damage.

    But then I remember Edna.

    And Christianity’s universal diagnosis becomes difficult for me.

    Perhaps Paul is right about me. But was he right about her?

    A Christian can answer that Edna’s apparent wholeness doesn’t matter. Sin isn’t merely psychological distress or bad behavior. She could have been loving, courageous, morally serious, and emotionally integrated while remaining estranged from God at some deeper level.

    I understand the argument.

    But The Edna Challenge remains.

    Because the diagnosis begins to describe something I cannot see.

    Edna survived horrors I can barely imagine. Her parents were murdered. Her childhood was stolen. Much of her family disappeared into the Holocaust. Her brother walked out of Auschwitz without his wife and children. She crossed an ocean, built a life, cared for an invalid husband, became a widow, and grew old carrying memories I was too young to understand.

    Yet she did not strike me as spiritually defective.

    She struck me as Edna.

    Meanwhile, her comparatively fortunate great-grandson sits decades later reading Romans and recognizing himself on every page.

    Perhaps Christianity is right that both of us needed the same salvation.

    Perhaps my memory of Edna tells me nothing about her deepest spiritual condition.

    Or perhaps Paul discovered something extraordinarily true about certain human beings and mistook it for the universal condition.

    I don’t know.

    That uncertainty sits at the center of my struggle with religious faith. Before I can accept the prescription, I have to understand the diagnosis. And whenever I’m told that humanity suffers from a universal spiritual deficiency that only religion can address, I find myself returning to Leisure World in 1968.

    There is Edna in her chair.

    The television is on.

    As the World Turns has presented another romantic scoundrel.

    Edna shakes her fist at the screen.

    And I find myself asking the question Christianity has not yet answered to my satisfaction:

    What, exactly, was missing from her?

  • The Exhaustion Paradox

    The Exhaustion Paradox

    In 1974, when I was in junior high, a friend came to school looking wrecked. He had spent the weekend at his family’s cabin skiing at Bear Valley Mountain Resort, and when he returned home Sunday night, exhausted from two days on the slopes, he couldn’t sleep.

    This made no sense to me.

    Wasn’t exhaustion supposed to produce sleep? You depleted the body, crawled into bed, and disappeared for ten hours. That was the arrangement.

    His mother, a nurse, offered a different explanation. Her son had gone beyond ordinary fatigue. He was so exhausted that his body could no longer relax enough to sleep.

    I found the idea fascinating and horrible.

    Call it The Exhaustion Paradox: the state in which fatigue becomes so acute that instead of producing relaxation and sleep, it produces agitation, anxiety, and an inability to rest. The body desperately needs the very thing its exhausted condition prevents it from obtaining.

    I filed this strange idea somewhere in my adolescent brain and didn’t think about it again for more than fifty years.

    Then I decided to recreate the experiment.

    My current weight-loss campaign has made me eager to exercise. Usually, this is a good thing. I know my body well enough to understand that I need one or two days off every week. Recovery allows my muscles to heal and lets me return to my workouts with enough energy to attack them rather than merely survive them.

    But weight-loss impatience has a way of making perfectly sensible principles seem negotiable.

    If exercise burns calories, more exercise must burn more calories. And if more is good, ten consecutive days must be magnificent.

    So I trained for ten days without a break.

    On the tenth day, I climbed onto my exercise bike and discovered that my body had apparently resigned without giving notice.

    My usual power was gone. My legs felt hollow. I produced less than half my normal output. Every pedal stroke seemed to require a committee meeting. This wasn’t the satisfying fatigue of a hard workout. I felt depleted at the cellular level, as if someone had reached inside me and removed the batteries.

    Fine, I thought. Obviously I need sleep.

    I dragged myself to bed.

    And couldn’t rest.

    Instead of sinking gratefully into the mattress, I became anxious. The exhaustion itself was unnerving. I could feel how badly my body needed recovery, yet I couldn’t cross the threshold into it. I tossed and turned for ninety minutes, simultaneously desperate for sleep and incapable of surrendering to it.

    Then a memory surfaced from 1974.

    Bear Valley.

    My junior-high friend.

    His nurse mother.

    He was too exhausted to sleep.

    Fifty-two years later, I finally understood what she meant.

    I got out of bed and told my wife what was happening. She suggested I drink some water mixed with electrolyte powder.

    I did.

    Soon I felt considerably better. Whether the electrolytes were responsible, the water helped, or simply getting out of bed broke the cycle of anxious exhaustion, I don’t know. But the feeling of physical crisis subsided. I did a few chores and eventually sat down to write.

    The episode reminded me of something I already knew but had temporarily decided didn’t apply to me: recovery is not the enemy of training.

    It is part of training.

    You cannot bully the body indefinitely and call it discipline. Eventually the distinction between training and punishment disappears. The workout deteriorates, the body rebels, and even rest becomes difficult.

    At thirteen, I thought The Exhaustion Paradox was fascinating and awful.

    At sixty-four, I can confirm the awful part.