Cinemorphosis

Category: Confessions

  • Death by Clean-and-Jerk: a TV Tragedy

    Death by Clean-and-Jerk: a TV Tragedy

    In the span of five minutes yesterday, I managed to destroy not one but two Samsung QLED smart TVs, each a 55-inch, three-year-old, $700 reminder of my own idiocy.

    Samsung Number One had been sulking in the bedroom, untouched for a week. I had banished it there after splurging on a $1,500 LG OLED for the living room. Last night I flicked it on and found half the screen swallowed in black vertical lines, like a funeral shroud. The culprit? Most likely my own heroic attempt to hoist it solo onto a dresser—an Olympic clean-and-jerk without the chalk or the applause. The impact probably jarred the LCD panel, cracking delicate circuits invisible to the eye but fatal to the image. Maybe a ribbon cable came loose from the T-Con board, which can sometimes be reseated if you’re the kind of person who enjoys performing surgery with tweezers and a magnifying glass. I am not. That Samsung was escorted to my office, where it joined the growing eWaste Waiting Area, a sort of graveyard for gadgets that lost their duel with me.

    Undeterred, I marched into my daughter’s room for Samsung Number Two—the TV I’d lent her after moving things around the previous week. She was at Knott’s Berry Farm with her friends, which seemed like a merciful stroke of timing. My plan: reclaim the Samsung, and let her inherit the old 43-inch LG, a relic from 11 years ago that weighs twice as much as the newer, bigger Samsungs.

    But hubris is a loyal companion. Samsung Number Two sat high on her dresser, and I went at it like a gorilla in a hurry. I spread my arms wide to span its edges, but my right thumb betrayed me—it dug into the panel with a sickening crackle, leaving a dent in the digital flesh. In a feat of magical thinking, I told myself, “The panel probably bounced back.” Reality arrived the moment I powered it on: fresh black lines stood exactly where my Hulk thumb had pressed, like a signed confession of my clumsiness.

    Two lessons were carved into my soul in those catastrophic five minutes. First, modern TVs are absurdly fragile, delicate to the point of parody compared to their beefy ancestors. Second, I am unspeakably stupid.

    Now I must cram two cadaverous Samsungs into my car for their last ride to the eWaste center and figure out how to replace my bedroom screen. My daughter, surprisingly pliant, agreed to keep the old LG. As for my bedroom, I’m buying cheap: a $259 Roku 50-incher with deliberately low expectations. And from now on, I will follow the Prime Directive of Television Handling: any set larger than 40 inches must be carried upright by two people, no exceptions. This is not a powerlifting meet. There is no medal stand. A modern TV is a wafer-thin, brittle-screened diva.

    So: velvet gloves. And no grunting.

  • My Lifelong Marriage to Convenience

    My Lifelong Marriage to Convenience

    There is much to admire about centering our lives on convenience. We save time and resources, avoid wasted effort, and maximize efficiency in the name of what is too often called “optimization.” A life built around convenience often becomes a quest for “life hacks.” But if our behavior is less inventive, we don’t call it a hack at all—just a preference.

    For example, I refuse to go to the gym. It’s inconvenient, time-consuming, costly, and exposes me to airborne illnesses. I prefer to work out in the garage. That’s not a life hack—it’s just easier. The same goes for meals: having a bowl of oatmeal with protein powder and soy milk instead of lunch or dinner isn’t clever or innovative. It’s simply what I do when my family is out and I’m eating alone. Spending more than five minutes on a meal under those circumstances feels unnecessary. Calling a bowl of steel-cut oats or buckwheat groats a “life hack” would be grandiose.

    During the pandemic, three-fourths of my classes moved online through Canvas, a Learning Management System (LMS). Hard copies disappeared. Graded documents were uploaded to the platform, which was remarkably efficient. I didn’t have to drive to campus. The college saved on electricity. That was five years ago, and my classes remain online. I now drive less than 3,000 miles a year. Online classes have made me very efficient. Once you taste efficiency, it’s nearly impossible to go back to inefficiency.

    I admit I’m a less than admirable parent. I don’t like driving my teen daughters to their social functions—birthday parties, football games, dance practices, amusement parks. I find it all inconvenient. That’s my choice. If I were truly devoted to convenience, I wouldn’t have become a parent at all. And certainly not a cat owner. Kitty litter, flea control, vet visits, and travel arrangements are an affront to any serious commitment to convenience.

    As desirable as convenience is, some personalities—mine included—turn it into a pathology. We center our lives around it, and any violation of our convenience policies breeds resentment. Many of these resentments are unreasonable. I resent old age and death, primarily because they are inconvenient. Doctor appointments and funerals interfere with my routine.

    Convenience culture also makes us adore routine. I suspect routine is the groom to the bride of convenience.

    Even my worldview is infected by this impulse. I am an agnostic, which I despise, because it is inconvenient. Agnosticism demands reading and constant reflection. I’ve consumed books by agnostics, atheists, universalists, infernalists, and the post-mortem-salvation curious. While Elizabeth Anderson’s critique of scripture has many compelling points, her notion of morality as nothing more than evolution feels inadequate. Paul’s vision of humanity as fallen and divided is more persuasive and mirrors my own psychology. I wish I could settle happily into Anderson’s worldview. It would be so convenient.

    Speaking of religion, Jesus preached a gospel of inconvenience. His willingness to sacrifice his life in such a manner stands as the very opposite of convenience. For devotees of the gospel of ease, following Jesus is nearly unthinkable—a path that demands nothing less than a Damascus-level upheaval like Paul’s.

    When I think of convenience, I’m reminded of Chris Grossman, a wine salesman I worked with in the 1980s. He was brilliant and affable but had no close relationships. He admitted he didn’t care much for life. He had tried having a girlfriend once and said it was awful—not because of her, but because it was too inconvenient. By his late thirties, he was a bachelor. He ate the same foods every day for simplicity’s sake and once a year drove his Triumph to a car show in Carmel. I loved him for it, because I knew we were both soulmates in convenience culture.

    Some of us are more diseased by this devotion to convenience than others, and it often lowers our standards. I am appalled by factory farming and would like to be vegan. Perhaps if I lived alone, I could do it. But in a family of omnivores, that move would not go over well. I could prepare plant-based meals for myself, but I don’t—partly because of the inconvenience. Vegans I’ve spoken to say the hardest part isn’t the food but the social ostracism.

    I’m already the black sheep in my family—the anti-social shut-in whose quirks are laughed at on good days and resented on bad ones. If I imposed a vegan diet, I fear it would alienate me further, and I’d have to grovel my way back into some semblance of connection.

    As a lifelong neurotic who already alienates people more than I’d like, I know that repairing frayed relationships is an excruciating, arduous task. And it’s so inconvenient.

  • How The Monkees Taught Me That the Intellectual Can Beat the Bodybuilder and Inspired a Song

    How The Monkees Taught Me That the Intellectual Can Beat the Bodybuilder and Inspired a Song

    October 16, 1967, was a victory for the writers of cynicism. It was the day I learned the universe doesn’t give a damn. This was the day the veil was lifted. I was five, just shy of my sixth birthday, watching The Monkees, blissfully unaware that my entire worldview was about to be wrecked. The episode? “I Was a 99-lb. Weakling.” The plot? Micky Dolenz, the Monkee I admired most, gets metaphorically pancaked by Bulk, a human monument of muscle played by Mr. Universe Dave Draper. Bulk was no ordinary gym rat; he was a colossus in Speedos, the prototype Schwarzenegger. Worse, he stole Brenda, the beach goddess, right out from under Micky’s nose.

    Micky, desperate to win her back, did what any of us would: he signed up for Weaklings Anonymous. Their solution? Hoisting weights the size of small cars and downing fermented goat milk curd—an elixir I can only assume tasted like liquid despair. He even sold his drum set, jeopardizing the band’s future, all to build enough brawn to challenge Bulk.

    And for what? Brenda, fickle as fate, had a sudden epiphany—muscles were passé. She ditched Bulk for a scrawny intellectual buried in Remembrance of Things Past. Apparently, Proust’s multivolume exploration of memory and ennui was hotter than biceps.

    There, in front of my Zenith TV, I watched Micky’s heart crumple, and with it, mine. The moral of the story was clear and soul-crushing: hard work guarantees nothing. You could sacrifice, sweat, and sip goat curd until you resembled a Greco-Roman statue, only to find the universe had other plans—plans that favored nerds with library cards.

    The Monkees changed everything. The show taught me the brutal truth of irony: things don’t go the way as planned. I didn’t have the word for irony as a five-year-old, but I could feel it sending an existential chill through my bones. 

    As the decades passed, I finally processed that childhood memory into a piano song I wrote, titled “The Heartbreak of Micky Dolenz”:

  • We All Wanted to be Adopted by The Brady Bunch

    We All Wanted to be Adopted by The Brady Bunch

    In the hellfire of the summer of 1971—sun like a coin press and every pine needle a tiny oven—I was nine and certain the world owed me a miracle. My family and four others had staked a two-week claim on a rugged patch of Mount Shasta: we fished, water-skied, swatted hornets, and lazed beneath the buzzing halo of a massive battery radio that vomited The Doors, Paul McCartney, Carole King, and Three Dog Night into the pines. It should have been Eden. It should have been bliss. Instead it felt like the production meeting for a childhood trauma.

    One dawn I lay cocooned in my tent, not merely asleep but translating into the rarest dream of my short life. In that vivid pantomime I’d been plucked off our campsite and dropped into San Francisco, standing before a gleaming red cable car with the Brady Bunch beaming at me like a panel of missionary saints. Mike and Carol had already signed the papers. I was family now—promised the split-level, the avocado-green kitchen, my very own bunk. My brain supplied questions with the urgency of a petition: Would I get a room? Would Greg tolerate me? When would they shoot my induction episode?

    Then Mark and Tosh—the twin saviors of sobriety—tore the dream away like a curtain ripped mid-scene. “C’mon, man, fishing,” they croaked, their voices the sound of gravestones being lowered. Fishing? Fishing?! I had been adopted by television perfection and now I was expected to sniff out worms like a commoner. I sulked with the theatricality of a miniature tyrant, trudging the rest of the day with the scowl of a man exiled from paradise, my secret grief lodged like a splinter under the skin of my soul. There was no way to explain. “Sorry, I can’t bait a hook—my new stepfamily needs me on stage.” Right. I bit my lip and chewed on humiliation.

    My father barked like a sergeant and cut the melodrama down with a single order: “Get with the program. We’re living in the wild.” The wild, he meant, with its yellowjackets circling our biscuits and a lake full of indifferent fish. I wanted the Brady kitchen, not a fishing pole and a chorus of stings. The pointy little deaths of mosquito bites and the cheap tin of powdered pancake mix were the actualities. The dream stayed lodged; reality kept showing us its rough, unvarnished palm.

    That sulking boy at Mount Shasta believed his fantasy was a portal out of chaos—a personal miracle nobody else would imagine. The joke is that it wasn’t original. Millions of American children were fed the same sedatives: thirty-minute morality plays in which family harmony was manufactured to lipstick level. While we bathed in their canned warmth, the actors backstage were burning through lives: addiction, affairs, fights that would make our own messy households look like spas. The dissonance between stage-gleam and soap-opera sludge is almost religious in its cruelty.

    Should we expect actors’ private lives to line up with the squeaky-clean product they sell? Of course not. It would be as reasonable to expect Superman to sort his recycling. Hollywood is a factory of facades: glossy façades varnished over dysfunction. The Brady Bunch was the perfect exhibit—an engineered Eden whose actors were stuck inside their own human messes. Yet we kept praying to that televised altar because fantasy is sweet and often cheaper than facing the real family across your table.

    Decades later, the fantasy will still sneak up on me. Sometimes I dream my face is a square in that opening montage—cheeks plump, grin kerchiefed to perfection—living, forever, inside a clapboard postcard where problems resolve in thirty minutes. In the dream I am blissfully ignorant of the backstage carnage. I wake up with that small, ridiculous ache—a taste for a world that never existed, an appetite for a comfort that, like cheap candy, rots faster than it satisfies.

  • Tooter Turtle Goes to Gold’s Gym

    Tooter Turtle Goes to Gold’s Gym

    When you’re old, you burn daylight running stupid counterfactuals. Forty years of teaching college writing and now I mutter to myself, “You were never meant to be a professor. You were meant to be a personal trainer.” This fantasy is less revelation than acid reflux—I can’t keep it down no matter how hard I try.

    But let’s be honest about the personal trainer gig. Path A: you scrape together rent money coaching half-motivated clients through limp triceps pushdowns while they whine about kale. Path B: you cater to narcissistic celebrities who want you to count their lunges in a whisper, until their self-absorption has hollowed you out like a dry coconut.

    In this farce, I’m no different than Tooter Turtle, that cartoon sad sack from my childhood. Every week he begged Mr. Wizard to reinvent him as a lumberjack, a detective, a gladiator, a football star. And every week he proved that no matter how much you change the costume, you can’t change the pratfall. His new career always ended in humiliation, panic, and the desperate cry: “Help me, Mr. Wizard!”

    That’s us: eternal college freshmen, forever switching majors, convinced that the next “out there” will be our deliverance. But when the magic portal opens, we loathe ourselves for asking.

    Me, a personal trainer? Please. Within a week I’d be rolling my eyes at clients’ flabby excuses, pawning my kettlebells to cover insurance premiums I don’t have, and slinging creatine tubs from the trunk of my Honda. I wouldn’t be a coach—I’d be a sidewalk prophet of six-pack abs, half-broke, half-starved, and wholly ridiculous.

    Punchline: In short, I’d be Tooter Turtle in gym shorts—begging Mr. Wizard to zap me back to the classroom, where at least the only thing I’m destroying is a freshman’s thesis statement.

  • Religion Is No Kevlar Vest Against the Fear of Death

    Religion Is No Kevlar Vest Against the Fear of Death

    My mother’s people were Ashkenazi Jews from Poland; my father’s, Roman Catholics from Scotland and Ireland. Yet both treated religion like a dusty attic trunk filled with moth-eaten lace. When a TV preacher with the face of a sour prune croaked on about sin, my parents would smirk, as if watching a vaudeville relic wheeze out his final act.

    I wasn’t so quick to sneer. At Castro Valley High, a white-haired Mrs. Hanson, seventy if a day, handed us the Book of Job, and I was caught like a fish. God, suffering, celestial wagers—it was grotesque, terrifying, delicious. I’d drive my Ford Maverick to the gym, sunrays slicing through storm clouds, and briefly imagine a divine presence scanning my biceps. I didn’t know biblical doctrine from dog food, but I felt sure there was an afterlife waiting—an enchanting lounge where the velvet ropes always parted. For a short stretch of adolescence, I even stopped fearing death.

    Then came my Christian classmates, thrusting paperback apocalypse manuals into my hands. Rapture. Beasts. Eternal torment. Overnight my buoyant heaven curdled into a horror show where my Jewish relatives burned forever. Some Christians reassured me that such cruelty wasn’t “real Christianity.” But the deeper I read, the more Paul’s letters stood like theological battering rams against Jews who wouldn’t bend the knee. Supersessionism, they called it—a polite term for spiritual eviction.

    The Church Fathers weren’t gentler. Augustine’s take on eternal damnation? Justice, pure and simple. Billions in flames, and he shrugs: they had their chance. Forgive me if I don’t find that a winning sales pitch.

    Which is why I keep returning to Dale Allison’s Night Comes. Barely 200 pages, but packed with the force of a midnight storm. A Christian, Allison treats hell not as a theological curiosity but as a moral obscenity that collapses under its own weight. He doesn’t stitch loopholes into doctrine—he pokes holes until the absurdity gushes out.

    His stories haunt me. His teenage daughter found annihilation worse than hell; she feared nothingness more than flames. His son, in an email of raw honesty, mourned the idea that “the museum of his mind will be closed.” Not death, but the erasure of memory—the bulldozing of everything tender and beloved—that was the real terror.

    As a teen I believed our cherished moments had permanent residence in some cosmic vault. Allison doesn’t smash that hope, but he makes it more fragile, more complicated. He notes—accurately, grimly—that saints and mystics, when Death shows up in the doorway, often beg and claw like the rest of us. Religious devotion, it seems, is no Kevlar vest.

    And so, in old age, I sit with a religious ambivalence as stubborn as arthritis: no doctrine, no creed, no “blessed assurance” makes the thought of extinction less ghastly. Maybe the fear of death is not a flaw to be cured but a mirror—one that forces us to stop pretending we’re eternal and finally face the finite with our eyes wide open.

  • The Clown in the Rain

    The Clown in the Rain

    It was the late ’60s, and my father and I were swept along with the crowd exiting a circus in San Jose. Rain poured hard and steady, the kind that flattens hair and soaks shoes in minutes. In the chaos of umbrellas and slick pavement, I spotted him—Hocus Pocus, the Bay Area’s clown celebrity, wandering alone through the parking lot.

    His makeup was smudged by the weather, his wig drooping, his posture sagging as though the downpour had stripped him of performance energy. He looked less like a jester than a man burdened by his own melancholy, trudging through puddles without hurry. Then his eyes flicked toward me. For a brief moment, he shook off the fog around him, managed a weary smile, and pulled from his pocket an autographed photograph. He handed it to me silently, a token from a man who seemed at once broken and kind.

    What I remember most is his expression—resigned to sadness, yet somehow still present enough to gift a child a sliver of joy. The photo, worn at the corners, became a reminder that even in rain-soaked despair, generosity can find its way through.

  • The Intruder from the Cypress Gloom

    The Intruder from the Cypress Gloom

    Sometimes you hear stories of horror and the supernatural, and you don’t know what to do with them, especially if the person telling the story seems sane and credible. As a result, the story lingers and haunts you for all your life. For example, I’ve never forgotten a story one of my college students told me back in the fall of 1998. She was a re-entry student—a nurse in her early forties—juggling coursework at UCLA with overnight hospital shifts. The kind of woman who sticks in your memory: short, sturdy, glasses perched low on her nose, with the weary, perceptive eyes of someone who’d seen too much and lips that knew how to pace a punchline.

    Most afternoons, after class let out, she’d linger by my desk and recount episodes from her Louisiana backwoods childhood or from the fluorescent netherworld of her hospital’s VIP wing. Her stories ricocheted between absurdity and horror—tales told with the calm authority of someone who could handle arterial spray with one hand and chart notes with the other.

    But one story gripped me by the spine and never let go. It wasn’t about dying celebrities or ER gore. It was about something far worse. A visitation. A monster.

    She and her cousin Carmen were feral children, raised in the lawless heat of rural Louisiana, where school attendance was optional and adult supervision was more myth than fact. Left to their own devices, the two girls invented what she called “mean games”—they tortured frogs, pulled wings off insects, and hinted at darker cruelties she refused to name. Lord of the Flies in sundresses.

    And then one afternoon, the visitor arrived.

    They were holed up in a decaying house, conspiring over their next cruelty, when the porch door creaked open and something stepped inside. It looked like a man. But it wasn’t. Over six feet tall, it had a tail—thick, muscled, and disturbingly animate. It moved with a will of its own, curling and flicking behind him like a fleshy metronome. His body was bristled with wiry hair. His voice? Low, hoarse, and calm in the most terrifying way. He didn’t threaten. He simply listed.

    Sitting in a rocking chair, the creature, a sort of rat-man, described, in brutal detail, everything the girls had done—every frog mutilated, every insect dissected. Nothing vague. He named the acts like he had them on file. And then he made his offer: Keep going, he said, and I’ll recruit you.

    He stayed for three hours. Just sat there. Breathing. Flicking that tail. Describing their path toward damnation with the steady tone of a bureaucrat explaining retirement benefits. When he finally left, dissolving into the heat shimmer of the Louisiana dusk, the girls were too stunned to move. Carmen whispered, “Did you see that?” My student just nodded.

    They never spoke of it again. But they changed. Overnight. Sunday school. Prayer. Kindness, enforced not by conscience but by fear. The kind that settles in your bones and never leaves. Whatever that thing was, it did its job.

    And this is the part that haunts me: she wasn’t a kook. She wasn’t mystical, manic, or given to exaggeration. She was a nurse—clear-eyed, grounded, more familiar with death than most people are with taxes. She wasn’t telling a ghost story. She was giving a deposition.

    To this day, I see those two girls, wide-eyed and paralyzed, staring down a thing that knew them intimately and promised them a future in hell’s apprenticeship program. Whether it was a demon, a shared psychotic break, or some mythological construct formed by childhood guilt and Southern humidity, I don’t know. But I do know what it meant.

    The creature’s message was brutal in its simplicity: Keep practicing cruelty, and you’ll lose the ability to stop. You’ll become it.

    That’s not just folklore. That’s biblical. The idea that if you repeat your wickedness long enough, God—or whatever you believe in—stops interrupting you. He doesn’t smite you. He simply steps aside and says, Go ahead. This is the life you’ve chosen.

    No wonder Kierkegaard was obsessed with working out your salvation with fear and trembling. There’s nothing more terrifying than the idea that damnation is self-inflicted, not by a thunderbolt, but by repetition. That the road to hell is paved with muscle memory.

  • Zosia Mamet and My Personal Reading Revival

    Zosia Mamet and My Personal Reading Revival

    It’s rare that I fall in love with books these days, but when it happens, I’m grateful because reading reminds me of my glory days, the early 80s when I consumed books with ferocity, imaginative pleasure, and obligation like a bodybuilder taking protein powder and creatine. Three major factors have curtailed my reading of books: One, I’ve grown so cynical over the years that I’ve come to the belief that 99% of books are in actuality just a short story or essay with padding. An author has an intriguing idea, and they sit down with their agent and cook up a book that is mostly chicanery with a dash of substance. 

    Then three days ago, I heard actor Zosia Mamet talking about her memoir Does This Make Me Funny?, a collection of essays, with KCRW host Sam Sanders, and I was so struck by her depth of wit, intelligence, and moral perspective that I immediately bought her book, or I should say the Kindle eBook version of it. Even more rare than buying books as intellectual property, it is even rarer that I buy a hard copy of something, unless it is a kettlebell training book or a cookbook like Miyoko Schimmer’s The Vegan Creamery. 

    Getting most of my books on Kindle speaks to the second reason my reading has diminished. The physical act of reading is unpleasant. Holding the book, turning the pages, getting into a comfortable position, attenuating my eyes to the various font sizes. I find the whole thing disconcerting and unpleasant, like trying to figure out the seat positions, buttons, and levers of an unfamiliar car. The most comfortable forms of reading are either sitting at my desktop and reading the Kindle on a 27-inch screen or reading while sitting in bed with a 16-inch laptop.

    The third reason I don’t read as much is that the Internet and its attention economy have fried my brain over the decades. The attention muscles inside my cortex have atrophied to a woeful state. 

    But occasionally a rose grows out of the cracks in the cement sidewalk, and such is the case with Zosia Mamet’s memoir, as witty, deep, self-deprecating, and salient as the author speaking to Sam Sanders three days ago. Reading the memoir is to connect with someone for whom her writing voice and the core of her being are the same. The result is something distinctive and salient, something that recoils and then snaps forward to leave its literary fangs inside you. Isn’t that what writing is supposed to be about? Nabokov was like that. So was Kafka. And so is Zosia Mamet.

    I detest some confectionary celebrity memoir reeking of privilege, superfluousness, and mediocrity. None of that is in Zosia’s collection of essays. 

    As we read in Jancee Dunn’s New York Times article “At Least Zosia Mamet Can Laugh About It,” the core of her book is about her mental, physical, and spiritual health. Coming from a family that is deeply entrenched in literature and the arts is a double-edged sword with excruciating pressure to live up to superhuman expectations causing Zosia’s thorn in her side to be the constant sense that she is falling abysmally short. 

    Like the best comedia, she opts out of self-pity for humor as she does a deep dive into her anxiety, depression, body dysmorphia, anorexia, and anhedonia, and all the self-destructive behaviors she succumbed to in order to overcome these afflictions. Because she knows that body dysmorphia is a delusion that hijacks her brain, she says about herself: “I am often an unreliable narrator of my own reality.” 

    Which in a nutshell is the human condition: Can we trust ourselves or are we getting duped by our own fake narrative? 

    What tools from our emotional toolbox can we use to be more reliable? Perhaps comedy is one of them. Think of our irrational states: overcome by maudlin self-pity, vanity, and grandiosity, we spin grotesque narratives about ourselves that compel us to behave in ways that are ridiculous and often result in self-sabotage. Perhaps comedy is the antidote. Perhaps comedy distances us from our preposterous self-mythology and helps us in the arduous process of self-reinvention. That’s the sense I’m getting from Zosia Mamet’s very necessary book, a book that has no padding at all but has been made from a brilliant mind with blood, sweat, and tears. 

  • Last Car Syndrome

    Last Car Syndrome

    I was nearly sixty-four, four decades of teaching college writing having corroded whatever patience I once had, and I found myself drowning in self-disgust. My life, once measured in lectures and essays, had narrowed to a single, grotesque question: Camry or Accord? I fretted over it as if I were choosing a confession—Catholic or Presbyterian—with my eternal soul dangling over the dealership lot. The absurdity didn’t escape me. I had real problems: blood markers creeping upward, a rotator-cuff tear ruining kettlebell workouts, bedrooms that needed painting, twin daughters who needed driver’s training, retirement forms stacked like little gravestones, and the scramble to joint bank accounts so my younger wife wouldn’t face probate nightmares. And yet I could not stop watching YouTube reviews and refreshing Reddit threads that compared the new Camry to the Accord.

    I vacillated like a madman.

    Driving to pick up the girls from high school, I’d spot an Accord and sigh: “Ah, the Accord EX-L in Canyon River Blue. Very peaceful. Not a bad car to die in.” A second voice—practical, bored—would snap back, “It’s a car, not a coffin, dummy!” So I’d argue with myself: “But this will be the last car I ever buy. Surely it is my Death Car.” “God, you’re morbid! How can I live with you? Get away from me!”

    The next day I’d see a Camry SE in Heavy Metal and melt. “Look how it fits that color—everything’s right. Under thirty-three K and it feels Lexus-adjacent.” My inner realist would applaud the improvement: “At least you’re not talking about death. Progress.” Then the skeptic: “But the Accord is quieter. I need quiet. And the Accord dealership is walking distance—drop it off, walk home. That’s handy.” Followed by doubt: “Wait—people say the new Accord looks like a Ford Taurus. Can I live with that kind of ridicule?”

    It went on and on. My wife learned to read my posture: the slight slump, the hand rubbing the back of my neck—the tell that I was about to launch into Camry-Accord hell. She would cut me off before I even opened my mouth: “Stop right there, buster. I don’t want to hear it. Just make your damn decision!”

    For a while I wallowed alone in the torment.

    Then one morning I woke up and declared I didn’t need a car at all. I’d driven, on average, three thousand miles a year for the last decade—hardly the mileage of a man who needed a shiny new vehicle. The decision felt radical: my daughters could take the older Accord, my wife the newer one, and I’d borrow a car when necessary. No purchase. No shiny new vehicle gathering dust like a suburban reliquary in the garage. Why buy something to admire between piano practice and Netflix binges? I told myself the choice was genius. 

    But after snacking on a virtuous bowl of buckwheat groats with unsweetened soy milk, banana slices, pumpkin seeds, cinnamon, and a dash of manuka honey, the energizing snack snapped me out of my delusion.. Suddenly the whole farce of my deliberation looked naked: I was suffering from Last-Car Syndrome: the unconscious understanding that in my mid-sixties, my next car purchase was essentially my Death Car, so I avoided the purchase like I avoided death. 

    Fortified by my power breakfast, I stood up, chest puffed like a man claiming moral clarity, and barked at the ceiling, “Who am I kidding? I’m buying a new car. I deserve it.”
    So now it’s only a scheduling question—six months from now, or next week.