Category: culture

  • There Is No Digital Kaffeeklatsch: The Lie of Social Media

    There Is No Digital Kaffeeklatsch: The Lie of Social Media

    For the last fifteen years, we’ve let the term social media slip into our lexicon like a charming grifter. It sounds benign, even wholesome—like we’re all gathered around a digital café table, sipping lattes and chatting about our lives in a warm, buzzing kaffeeklatsch. But that illusion is precisely the problem. The phrase “social media” is branding sleight-of-hand, a euphemism designed to lull us into thinking we’re having meaningful interactions when, in reality, we’re being drained like emotional batteries in a rigged arcade.

    This is not a friendly coffeehouse. It’s a dopamine-spewing Digital Skinner Box where you tap and scroll like a lab rat hoping for one more pellet of validation. What we’re calling “social” is, in fact, algorithmic manipulation dressed in a hoodie. We are not exchanging ideas—we are bartering our attention for scraps of engagement while surrendering personal data to tech oligarchs who harvest our behavior like bloodless farmers fattening up their cattle.

    Richard Seymour calls this hellscape The Twittering Machine, and he’s not exaggerating. Byung-Chul Han calls it gamification capitalism, a regime in which we perform our curated selves for likes while the real self, the vulnerable human beneath the filter, slowly atrophies. Anna Lembke describes our overstimulated descent in Dopamine Nation, while the concept of Algorithmic Capture suggests we no longer shape technology—technology shapes us.

    So let’s drop the charade. This isn’t “social media.” It’s addiction media, engineered to flatten nuance, hollow out identity, and leave us twitching in the glow of our screens like the last souls left in a flickering casino. Whatever this is, it’s not convivial, it’s not coffeehouse chatter, and it’s certainly not social. It’s the end of human discourse masquerading as connection.

  • The Great Rebrand: Why “Addiction Media” Tells the Truth

    The Great Rebrand: Why “Addiction Media” Tells the Truth

    Reading Richard Seymour’s The Twittering Machine is like discovering that Black Mirror isn’t speculative fiction—it’s documentary. Seymour paints our current digital reality as a propaganda-laced fever swamp, one where we aren’t just participants but livestock—bred for data, addicted to outrage, and stripped of self-agency. Watching tech-fueled sociopaths ascend to power begins to make sense once you realize that mass digital degradation is the new civic norm. We’re not on the cusp of dystopia; we’re marinating in it.

    Most of us are trapped in Seymour’s titular machine, flapping like digital pigeons in a Skinner Box, pecking for likes, retweets, or just one more dopamine hit. We scroll ourselves into a stupor, zombies hypnotized by grotesque clickbait and influencer gaucherie. And yet, a flicker of awareness remains. Some of us know our brains are rotting. We feel it in our foggy thoughts, our shortened attention spans, our craving to be “seen” by strangers.

    But Seymour offers no comfort. He cites a 2015 study where people tried to quit Facebook for 99 days. Most folded within 72 hours. Some switched to Instagram, TikTok, or Twitter—addiction by another name. Only a rare few truly escaped, and they reported something wild: clarity, peace, a sudden freedom from the exhausting treadmill of performance. They had unplugged from what philosopher Byung-Chul Han calls “gamification capitalism,” a system where every social interaction is a metric and every self is a brand.

    Seymour’s takeaway? Let’s retire the quaint euphemism “social media.” It’s not social. It’s not media in the traditional sense. It’s engineered compulsion. It’s addiction media—and we’re the lab rats with no exit key.

  • From Gutenberg to Doomscroll: A Brief History of Our Narrative Decline

    From Gutenberg to Doomscroll: A Brief History of Our Narrative Decline

    Richard Seymour, in The Twittering Machine, reminds us that writing was once a sacred act—a cerebral pilgrimage and a cultural compass. It charted the peaks of human enlightenment and the valleys of our collective idiocy. But ever since Gutenberg’s movable type cranked out the first printed tantrum, writing has also been big business. Seymour calls this “print capitalism”—a factory of words that forged what Benedict Anderson dubbed “imagined communities,” and what Yuval Noah Harari might call humanity’s favorite pastime: building civilizations on beautifully told lies.

    But that was then. Enter the computer—a Pandora’s box with a backspace key. We haven’t just changed how we write; we’ve scrambled the very code of our narrative DNA. Seymour scoffs at the term “social media.” He prefers something more honest and unflinching: “shorthand propaganda.” After all, writing was always social—scrolls, letters, manifestos scrawled in exile. The novelty isn’t the connection; it’s the industrialization of thought. Now, we produce a firehose of content—sloppy, vapid, weaponized by ideology, and monetized by tech lords playing dopamine dealers.

    The term “social media” flatters what is more accurately a “social industry”—a Leviathan of data-harvesting, behavioral conditioning, and emotional slot machines dressed in UX sugar-coating. The so-called “friends” we collect are nothing more than pawns in a gamified economy of clout, their every click tracked, sold, and repurposed to make us addicts. Sherry Turkle wasn’t being cute when she warned that our connections were making us lonelier: she was diagnosing a slow psychological implosion.

    We aren’t writing anymore. We’re twitching. We’re chirping. We’re flapping like those emaciated birds in Paul Klee’s the Twittering Machine, spinning an axle we no longer control, bait for the next poor soul. This isn’t communication. It’s entrapment, dressed up in hashtags and dopamine hits.

  • The Twittering Machine Never Sleeps

    The Twittering Machine Never Sleeps

    Richard Seymour, in his searing dissection of our digital descent, The Twittering Machine, argues that our compulsive scribbling across social media isn’t a charming side effect of modern communication—it’s a horror story. He calls our affliction “scripturient,” which sounds like a medieval disease and feels like one too: the raging, unquenchable urge to write, tweet, post, blog, caption, and meme ourselves into validation. According to Seymour, we’re not sharing—we’re hemorrhaging content, possessed by the hope that someone, somewhere, will finally pay attention. The platforms lap it up, feeding on our existential howl like pigs at a trough.

    But here’s the twist: these platforms don’t just amplify our words—they mutate us. We contort into parodies of ourselves, honed for likes, sharpened for outrage. Seymour’s reference to Paul Klee’s painting the Twittering Machine isn’t just arty window dressing—it’s prophecy. In it, skeletal birds crank a machine with the desperate chirps of bait, luring the next batch of fools into the algorithmic abyss. Once captured, these chirpers become part of the machine: chirp, crank, scroll, repeat. It’s not connection—it’s servitude with emojis.

    And yet, here I am. Writing this blog. Voluntarily. On WordPress, that semi-respectable cul-de-sac just outside the main drag of Social Media Hell. It’s not Facebook, which is a digital Thunderdome of outrage, memes, and unsolicited opinions from high school classmates you forgot existed. No, WordPress lets me stretch out. I can write without worrying that my paragraph won’t survive the swipe-happy thumbs of the attention-deficient. It feels almost…literary.

    But let’s not get smug. The moment I promote my posts on Twitter or check my analytics like a rat pressing a pellet bar, I’m caught in the same trap. I tell myself it’s different. That I’m writing for meaning, not metrics. But the line between writer and performer, between expression and spectacle, gets blurrier by the day. I’ve escaped the Twittering Machine before—unplugged, deleted, detoxed—but it still hums in the background, always ready to pull me back in with the promise of just one more click, one more like, one more little chirp of relevance.

  • You, Rewritten: Algorithmic Capture in the Age of AI

    You, Rewritten: Algorithmic Capture in the Age of AI

    Once upon a time, writing instructors worried about comma splices and uninspired thesis statements. Now, we’re dodging 5,000-word essays spat out by AI platforms like ChatGPT, Gemini, and Claude—essays so eerily competent they hit every benchmark on the department rubric: in-text citations, signal phrases, MLA formatting, and close readings with all the soulful depth of a fax machine reading T.S. Eliot. This is prose caught in the Uncanny Valley—syntactically flawless, yet emotionally barren, like a Stepford Wife enrolled in English 101. And since these algorithmic Franken-scripts often evade plagiarism detectors, we’re all left asking the same queasy question: What is the future of writing—and of teaching writing—in the AI Age?

    That question haunted me long enough to produce a 3,000-word prompt. But the deeper I sank into student conversations, the clearer it became: this isn’t just about writing. It’s about living. My students aren’t merely outsourcing thesis statements. They’re using AI to rewrite awkward apology texts, craft flirtatious replies on dating apps, conduct self-guided therapy with bots named “Charles” and “Luna,” and decode garbled lectures delivered by tenured mumblers. They feed syllabi into GPT to generate study guides. They get toothpaste recommendations. They draft business emails and log them in AI-curated archives. In short: ChatGPT isn’t a tool. It’s a prosthetic consciousness.

    And here’s the punchline: they see no alternative. AI isn’t a novelty; it’s a survival mechanism. In their hyper-accelerated, ultra-competitive, attention-fractured lives, AI has become as essential as caffeine and Wi-Fi. So no, I won’t be asking students to merely critique ChatGPT as a glorified spell-checker. That’s quaint. Instead, I’m introducing them to Algorithmic Capture—the quiet tyranny by which human behavior is shaped, scripted, and ultimately absorbed by optimization-driven systems. Under this logic, ambiguity is penalized, nuance is flattened, and people begin tailoring themselves to perform for the algorithmic eye. They don’t just use the machine. They become legible to it.

    For this reason, the new essay assignment doesn’t ask, “What’s the future of writing?” It asks something far more urgent: What’s happening to you? I’m having students analyze the eerily prophetic episodes of Black Mirror—especially “Joan Is Awful,” that fluorescent satire of algorithmic self-annihilation—and write about how Algorithmic Capture is reshaping their lives, identities, and choices. They won’t just be critiquing AI’s effect on prose. They’ll be interrogating the way it quietly rewrites the self.

  • Contagion of Fear: World War Z and the Collapse of Global Order: A College Essay Prompt

    Contagion of Fear: World War Z and the Collapse of Global Order: A College Essay Prompt

    Essay Prompt:

    In World War Z, a global pandemic rapidly spreads, unleashing chaos, institutional breakdown, and the fragmentation of global cooperation. Though fictional, the film can be read as an allegory for the very real dysfunction and distrust that characterized the COVID-19 pandemic. Using World War Z as a cultural lens, write an essay in which you argue how the film metaphorically captures the collapse of public trust, the dangers of misinformation, and the failure of collective action in a hyper-polarized world. Support your argument with at least three of the following sources: Jonathan Haidt’s “Why the Past 10 Years of American Life Have Been Uniquely Stupid,” Ed Yong’s “How the Pandemic Defeated America,” Seyla Benhabib’s “The Return of the Sovereign,” and Zeynep Tufekci’s “We’re Asking the Wrong Questions of Facebook.”

    This essay invites you to write a 1,700-word argumentative essay in which you analyze World War Z as a metaphor for mass anxiety. Develop an argument that connects the film’s themes to contemporary global challenges such as:

    • The COVID-19 pandemic and fear of viral contagion
    • Global migration driven by war, poverty, and climate change
    • The dehumanization of “The Other” in politically polarized societies
    • The fragility of global cooperation in the face of crisis
    • The spread of weaponized misinformation and conspiracy

    Your thesis should not simply argue that World War Z is “about fear”—it should claim what kind of fear, why it matters, and what the film reveals about our modern condition. You may focus on one primary fear or compare multiple forms of crisis (e.g., pandemic vs. political polarization, or migration vs. misinformation).

    Use at least three of the following essays as research support:

    1. Jonathan Haidt, “Why the Past 10 Years of American Life Have Been Uniquely Stupid” (The Atlantic)
      —A deep dive into how social media has fractured trust, created echo chambers, and undermined democratic cooperation.
    2. Ed Yong, “How the Pandemic Defeated America” (The Atlantic)
      —An autopsy of institutional failure and public distrust during COVID-19, including how the virus exposed deep structural weaknesses.
    3. Seyla Benhabib, “The Return of the Sovereign: Immigration and the Crisis of Globalization” (Project Syndicate)
      —Explores the backlash against global migration and the erosion of human rights amid rising nationalism.
    4. Zeynep Tufekci, “We’re Asking the Wrong Questions of Facebook” (The New York Times)
      —An analysis of how misinformation spreads virally, creating moral panics and damaging collective reasoning.

    Requirements:

    • Use MLA format
    • 1,700 words
    • Quote directly from World War Z (film dialogue, plot events, or visuals)
    • Integrate at least two sources above with citation
    • Present a counterargument and a rebuttal

    Here’s a 9-paragraph outline and three sample thesis statements to guide students toward deep, layered analysis of World War Z as metaphor.

    Three Sample Thesis Statements

    World War Z presents zombies not just as flesh-eating threats but as avatars of global panic—embodying fears of pandemics, mass migration, and social collapse. Through its globe-hopping narrative and relentless spread of infection, the film critiques a world increasingly unprepared to manage the fallout of interconnected crises, echoing Haidt’s concerns about fractured public trust and Yong’s analysis of institutional fragility.

    In World War Z, the zombie outbreak functions as a metaphor for weaponized misinformation and the breakdown of global cooperation, dramatizing how societies consumed by fear and tribalism respond not with solidarity, but with suspicion and violence. The film anticipates the moral failures detailed by Haidt and Tufekci, making it less about monsters than about our inability to face crisis without self-destructing.

    Far from a typical horror film, World War Z is a global parable of dehumanization and displacement, where zombies symbolize both contagious fear and the faceless masses of migration and poverty. As Benhabib argues, the return of nationalism and the fear of the “Other” has shattered international solidarity—anxiety the film visualizes through barricades, lockdowns, and apocalyptic border control.

    9-Paragraph Outline

    Paragraph 1 – Introduction

    • Hook: Use an arresting visual to frame our world’s current instability.
    • Context: Introduce World War Z as more than a thriller—it’s an allegory of global collapse.
    • Thesis: State your central argument about how the zombies symbolize a deeper, contemporary fear (e.g., pandemic panic, social polarization, migration anxiety, misinformation, etc.).

    Paragraph 2 – The Metaphorical Function of Zombies

    • Discuss the symbolic role of zombies in film generally (fear of the masses, disease, mindlessness).
    • Explain how World War Z updates the metaphor to reflect 21st-century global anxieties.

    Paragraph 3 – Global Crisis and Institutional Collapse

    • Analyze scenes showing governments falling apart, the UN being sidelined, the world reduced to reactive chaos.
    • Connect to Ed Yong’s argument about institutional failure during COVID-19.

    Paragraph 4 – Fear of Migration and the Dehumanized Other

    • Examine the treatment of human mobs, refugees, and zombies in border scenes (e.g., Jerusalem wall, flight panic).
    • Use Seyla Benhabib’s piece to discuss the rising fear of displacement and the collapse of asylum ethics.

    Paragraph 5 – The Spread of Misinformation and Breakdown of Truth

    • Point to the conspiracy theories and media confusion in the film’s early scenes.
    • Use Tufekci’s argument to show how misinformation spreads like a virus—and how that’s reflected in the zombie metaphor.

    Paragraph 6 – The Psychology of Polarization and Fear

    • Explore the emotional tone of the film: anxiety, distrust, hyper-individualism.
    • Connect to Haidt’s claim that polarization has eroded rational cooperation and heightened mass irrationality.

    Paragraph 7 – Counterargument

    • Some may argue that World War Z is just a fast-paced action flick with no real political message.
    • Rebut by showing how even its structure—a global chase from chaos to cure—mirrors real-world anxieties about global crisis management and ethical triage.

    Paragraph 8 – Deeper Implications of the Metaphor

    • Push the metaphor further: zombies as collapsed selves, media-driven mobs, people stripped of identity.
    • Reflect on how the film doesn’t just diagnose fear—it reflects our inability to reckon with complexity in a globalized age.

    Paragraph 9 – Conclusion

    • Reaffirm your thesis.
    • Leave the reader with a provocative final thought: maybe the zombies aren’t the dead—they’re us, stripped of cooperation, overwhelmed by fear, and marching blindly toward collapse.

  • Siri, Am I Losing My Mind? Asking for Jia Tolentino

    Siri, Am I Losing My Mind? Asking for Jia Tolentino

    In her essay “My Brain Finally Broke,” New Yorker writer Jia Tolentino doesn’t so much confess a breakdown as she performs it—on the page, in real time, with all the elegance of a collapsing soufflé. She’s spiraling like a character in a Black Mirror episode who’s accidentally binge-watched the entire internet. Reality, for her, is now an unskippable TikTok ad mashed up with a conspiracy subreddit and narrated by a stoned Siri. She mistakes a marketing email from Hanna Andersson for “Hamas,” which is either a Freudian slip or a symptom of late-stage content poisoning.

    The essay is a dispatch from the front lines of postmodern psychosis. COVID brain fog, phone addiction, weed regret, and the unrelenting chaos of a “post-truth, post-shame” America have fused into one delicious cognitive stew. Her phone has become a weaponized hallucination device. Her mind, sloshing with influencer memes, QAnon-adjacent headlines, and DALL·E-generated nonsense, now processes information like a blender without a lid.

    She hasn’t even gotten to the fun part yet: the existential horror of not using ChatGPT. While others are letting this over-eager AI ghostwrite their résumés, soothe their insecurities, and pick their pad thai, Tolentino stares into the abyss, resisting. But she can’t help wondering—would she be more insane if she gave in and let a chatbot become her best friend, life coach, and menu whisperer? She cites Noor Al-Sibai’s unnerving article about heavy ChatGPT users developing dependency, loneliness, and depression, which sounds less like a tech trend and more like a new DSM entry.

    Her conclusion? Physical reality—the sweaty, glitchy, analog mess of it—isn’t just where we recover our sanity; it’s becoming a luxury few can afford. The digital realm, with its infinite scroll of half-baked horror and curated despair, is devouring us in real time. Tolentino isn’t predicting a Black Mirror future. She is the Black Mirror future, live and unfiltered, and her brain is the canary in the content mine.

  • How Fake Food Mirrors AI Writing

    How Fake Food Mirrors AI Writing

    Like most people, I have an unbreakable bond with food—a bond so primal that when the food industry dares to present me with a counterfeit, I might taste it out of politeness or morbid curiosity, but love it? Never. Inferior substitutes, especially those concoctions posing as “creative alternatives,” are my culinary kryptonite. My first encounter with such deceit came in 1970, courtesy of my stint in the YMCA’s Indian Guides (now rebranded as Adventure Guides). We were part of “tribes,” each made up of eight father-son pairs, with one dad dubbed “Chief” and the rest relegated to “Assistant Chiefs.” The real highlight, of course, was the weekly rotation to a different family’s home, where the moms—our unsung heroes—served dessert.

    But one evening, dessert took a turn for the worst. Our host mother, a vision of 70s flair with her blonde spun-sugar hair and white go-go boots, had stumbled upon what she must have thought was the recipe of the century. There it was, in plain sight on her kitchen counter: an open Ladies’ Home Journal or some equally menacing tome of domestic innovation. She cheerfully announced her culinary coup—a dessert she was calling “ice cream” but with no actual ice cream in it. Instead, the concoction was an unholy alliance of canned frosting and Cool Whip.

    She served it in cones with an enthusiasm that could have powered the disco lights at Studio 54. But when I took a bite, the illusion shattered. It wasn’t ice cream; it was a crime scene. The texture was gritty, like someone had blended sand with modeling clay. It was lukewarm—room temperature, for God’s sake—and tasted like the sugary sludge dentists use to polish your teeth before hitting you with the guilt trip about flossing. I glanced around and saw my fellow boys and their dads wearing identical expressions of barely-contained horror—the same grimace detectives on TV crime procedurals make when they have to pull out a hanky to block the stench of a decomposing corpse. One by one, we all quietly set our cones down as though handling evidence at a murder trial.

    The poor woman, sensing the full weight of her failure, blushed beet-red and stammered out a series of apologies, swearing on everything holy that she would never again darken a dessert table with this abomination. We forgave her, of course—some crimes are too absurd to punish. But to this day, whenever I see Cool Whip, I feel a pang of existential dread and hear the faint echo of tribal laughter masked by suppressed gagging.

    My second traumatic encounter with fake food came years later, sometime in the early 90s. I was living alone in the barren expanse of the California desert, surrounded by nothing but dust, lizards, and my questionable life choices. Thanksgiving rolled around, and rather than go full Norman Rockwell with a solo turkey feast, I decided to spare myself the hassle and opted for something “easy.” Enter the boxed abomination known as tofurkey—a vegetarian horror show complete with a pouch of dubious “gravy.”

    The first bite was a betrayal of taste and texture. My jaw slowed in protest, grinding against the dense, rubbery mass like I was chewing on a tire patch. The spongy gluten monstrosity refused to yield, as if daring my teeth to break first. The flavor? Imagine licking a salted yoga mat that’s been marinated in vague artificial regret. I eyed another slice, its pallid, lifeless complexion daring me to continue. With the enthusiasm of a condemned man, I stabbed the fork into it, hoping for some hidden culinary salvation. Nope. The taste was as bland and soul-crushing as the first bite—less “holiday cheer,” more “processed despair.”

    Finally, I’d had enough. With a sigh that could’ve put out a candle, I carried my plate to the trash and scraped the entire crime scene into the garbage, where it belonged. Dignity had to be reclaimed. I poured myself a bowl of Cheerios, sliced a banana over the top, and drizzled on some honey. As I savored each crunchy, sweet spoonful, I felt a small but vital spark of culinary joy return. It wasn’t just a meal—it was a rescue mission for my self-respect. And let me tell you, a bowl of cereal has never tasted so victorious.

    The self-abasement and insult to others from eating and serving fake food was captured brilliantly in the early 1980s when comedian Bob Sarlatte took aim at the pièce de résistance of culinary chicanery: the Ritz Crackers recipe for Mock Apple Pie. Sarlatte was on a mission to uncover the absurdity behind Ritz’s audacious claim of making apple pie with, wait for it, crackers instead of apples. He was incredulous, practically frothing at the mouth as he dissected this travesty. “Why on earth,” he demanded, “would Ritz, in all their cracker-clad glory, boast about a recipe that doesn’t even remotely involve apples?” According to Sarlatte, this so-called “apple pie” was like calling a desert a beach because it had sand—except the sand was made of crushed Ritz crackers, and the beach was a figment of your imagination. The comedian was in no mood for Ritz’s grandstanding. To him, this wasn’t a culinary innovation; it was a culinary catastrophe. He took Ritz to task for attempting to pass off a cracker conglomeration as apple pie, as if the lack of fruit was a feature, not a flaw. “Who,” Sarlatte railed, “are you going to serve this Mock Apple Pie to? Your mock friends? People who enjoy mockery served with a side of disappointment?” Sarlatte’s razor-sharp wit wasn’t just about lampooning a recipe—it was about exposing a greater travesty: the shameless elevation of a subpar substitute as a triumph of creativity. This wasn’t a clever culinary trick; it was an insult wrapped in a cracker crust. Bob Sarlatte laid bare the staggering lack of self-awareness and the brazen audacity required to serve such an ersatz “apple” pie with a smug smile. It was a masterclass in how to serve up an insult with a cherry on top, minus the apple, of course.

    Sarlatte’s takedown resonates because food is sacred territory. Our connection to it is primal. Unlike AI-generated text, fake food assaults the senses in ways you can’t ignore. And while AI hasn’t (yet) encroached on the culinary world with soulless meal simulations, the market’s rejection of fake meat shows just how little tolerance we have for edible counterfeits. Sales of plant-based protein substitutes have tanked, a clear signal that consumers aren’t ready to trade their ribeye for a rubbery simulacrum. Simply put, there’s only so much culinary mockery we’re willing to stomach—literally.

    Fake foods fail 90% of the time with 90% of the people, but in the realm of writing, AI-generated prose seems to enjoy the opposite fate: it’s “good enough” 90% of the time for 90% of situations. So perhaps fake food isn’t the right comparison. When it comes to our slow surrender to mediocrity in writing, convenience food may be a more apt metaphor. Sure, a Hot Pocket isn’t a Russian piroshki, but its ham and cheese filling is technically real. The danger isn’t the outright fakery of fake food—it’s the insidious appeal of convenience that gradually numbs our taste for anything better. The same flattening effect occurs in writing, where AI churns out serviceable but soulless content, lowering our appetite for higher-level craftsmanship.

    Let’s be real: when you bite into a Big Mac, you’re not searching for the subtle interplay of flavors or the delicate dance of textures. You’re there for the holy trinity of fat, protein, and salt—instant gratification, hold the sophistication. Likewise, when you fire up ChatGPT, you’re not chasing literary immortality. You’re after a fast, serviceable product so you can free up time to hit the drive-thru. Convenience becomes king, and both your palate and prose pay the price. Before you know it, you’ve traded filet mignon for fast food and Shakespeare for shallow clickbait. Standards? Those eroded long ago, somewhere between the special sauce and the soulless syntax.

    We’ve already seen this erosion over the last fifteen years. Smartphones have replaced thoughtful correspondence with texts full of abbreviations and emojis. My students now submit essays littered with “LOL” and lowercase “i” like punctuation’s gone on permanent strike. But maybe it doesn’t matter. Maybe this linguistic infantilization is the new standard, and business communication will one day be indistinguishable from TikTok captions. Still, I don’t entirely despair. Higher-level writing—like Joan Didion’s piercing cultural reportage—exists in a category of its own and doesn’t compete with the memos and press releases AI is destined to take over.

    What worries me more is that fewer people will seek out writers like Didion, Zadie Smith, or Hunter S. Thompson. Without readers, the appetite for great writing—and with it, deep thinking—shrinks. The flattening of taste becomes a flattening of consciousness, a slow bleed of our shared humanity. Look at our growing dependence on technology: GLP-1 drugs manage our weight, AI shapes our communication, streaming algorithms filter our music, and nutrition powders substitute for food. The result is a bland middle ground, a life devoid of both high peaks and deep valleys. We stop noticing the dehumanization because we’ve acclimated to it.

    But not all hope is lost. I remember hearing an interview on Fresh Air with Tiffany Haddish. Early in her career, Haddish struggled to find her comedic voice—until Eddie Murphy gave her a piece of advice that changed everything. He told her to have fun on stage, to genuinely enjoy herself. If she was having fun, the audience would feel it and respond. That human moment of mentorship transformed her career.

    This story reassured me for two reasons. First, Tiffany Haddish wasn’t mentored by ChatGPT—she was guided by Eddie Murphy, a living legend. Second, comedy itself is proof that people will always crave voices that cut through the emotional numbness of modern life. Great comedians, like great writers, are the axes that Kafka said could break the frozen sea within us. They shatter our tech-induced monotony and return us to the raw, messy experience of being human. As long as there are voices like Haddish and Murphy to remind us of that, there’s still hope that humanity won’t flatline into a dull, digital abyss.

    We may live in a world where powdered meal replacements pose as dinner and AI-generated text poses as thought, but the human appetite—whether for flavor or for meaning—can’t be faked for long. Just as we spit out Cool Whip cones and tofurkey slabs with a shudder, our souls eventually revolt against the flattening effects of machine-made language. We remember what real texture feels like, in food and in prose. We remember what it means to laugh at a story that stings because it’s true. And even if convenience wins most days, there will always be those who crave the messy, glorious excess of a banana split or the searing honesty of a well-told tale. As long as people continue to gag on mediocrity—be it edible or literary—there’s hope that the hunger for something real, soulful, and defiantly human will keep coming back.

  • The Haunted Mind vs. the Predictive Engine: Why AI Writing Rings Hollow

    The Haunted Mind vs. the Predictive Engine: Why AI Writing Rings Hollow

    In More Than Words: How to Think About Writing in the Age of AI, John Warner points out just how emotionally tone-deaf ChatGPT is when tasked with describing something as tantalizing as a cinnamon roll. At best, the AI produces a sterile list of adjectives like “delicious,” “fattening,” and “comforting.” For a human who has gluttonous memories, however, the scent of cinnamon rolls sets off a chain reaction of sensory and emotional triggers—suddenly, you’re transported into a heavenly world of warm, gooey indulgence. For Warner, the smell launches him straight into vivid memories of losing his willpower at a Cinnabon in O’Hare Airport. ChatGPT, by contrast, is utterly incapable of such sensory delirium. It has no desire, no memory, no inner turmoil. As Warner explains, “ChatGPT has no capacity for sense memory; it has no memory in the way human memory works, period.”

    Without memory, ChatGPT can’t make meaningful connections and associations. The cinnamon roll for John Warner is a marker for a very particular time and place in his life. He was in a state of mind then that made him a different person than he was twelve years later reminiscing about the days of caving in to the temptation to buy a Cinnabon. For him, the cinnamon roll has layers and layers of associations that inform his writing about the cinnamon roll that gives depth to his description of that dessert that ChatGPT cannot match.

    Imagine ChatGPT writing a vivid description of Farrell’s Ice Cream Parlour. It would perform a serviceable job describing the physical layout–the sweet aroma of fresh waffle cones, sizzling burgers, and syrupy fudge;  the red-and-white striped wallpaper stretched from corner to corner, the dark, polished wooden booths lining the walls; the waitstaff, dressed in candy-cane-striped vests and straw boater hats, and so on. However, there are vital components missing in the description–a kid’s imagination full of memories and references to their favorite movies, TV shows, and books. The ChatGPT version is also lacking in a kid’s perspective, which is full of grandiose aspirations to being like their heroes and mythical legends. 

    For someone who grow up believing that Farrell’s was the Holy Grail for birthday parties, my memory of the place adds multiple dimensions to the ice cream parlour that ChatGPT is incapable of rendering:

    When I was a kid growing up in the San Francisco Bay Area in the 1970s, there was an ice creamery called Farrell’s. In a child’s imagination, Farrell’s was the equivalent of Willy Wonka’s Chocolate Factory. You didn’t go to Farrell’s often, maybe once every two years or so. Entering Farrell’s, you were greeted by the cacophony of laughter and the clinking of spoons against glass. Servers in candy-striped uniforms dashed around with the energy of marathon runners, bearing trays laden with gargantuan sundaes. You sat down, your eyes wide with awe, and the menu was presented to you like a sacred scroll. You don’t need to read it, though. Your quest was clear: the legendary banana split. When the dessert finally arrived, it was nothing short of a spectacle. The banana split was monumental, an ice cream behemoth. It was as if the dessert gods themselves had conspired to create this masterpiece. Three scoops of ice cream, draped in velvety hot fudge and caramel, crowned with mountains of whipped cream and adorned with maraschino cherries, all nestled between perfectly ripe bananas. Sprinkles and nuts cascaded down the sides like the treasures of a sugar-coated El Dorado. As you took your first bite, you embarked on a journey as grand and transformative as any hero’s quest. The flavors exploded in your mouth, each spoonful a step deeper into the enchanted forest of dessert ecstasy. You were not just eating ice cream; you were battling dragons of indulgence and conquering kingdoms of sweetness. The sheer magnitude of the banana split demanded your full attention and stamina. Your small arms wielded the spoon like a warrior’s sword, and with each bite, you felt a mixture of triumph and fatigue. By the time you reached the bottom of the bowl, you were exhausted. Your muscles ached as if you’d climbed a mountain, and you were certain that you’d expanded your stomach capacity to Herculean proportions. You briefly considered the possibility of needing an appendectomy. But oh, the glory of it all! Your Farrell’s sojourn was worth every ache and groan. You entered the ice creamery as an ordinary child and emerged as a hero. In this fairy-tale-like journey, you had undergone a metamorphosis. You were no longer just a scrawny kid from the Bay Area; you were now a muscle-bound strutting Viking of the dessert world, having mastered the art of indulgence and delight. As you returned home, the experience of Farrell’s left a lasting imprint on your soul. You regaled your friends with tales of your conquest, the banana split becoming a legendary feast in the annals of your childhood adventures. In your heart, you knew that this epic journey to Farrell’s, this magical pilgrimage, had elevated you to the ranks of dessert royalty, a memory that would forever glitter like a golden crown in the kingdom of your mind. As a child, even an innocent trip to an ice creamery was a transformational experience. You entered Farrell’s a helpless runt; you exited it a glorious Viking. 

    The other failure of ChatGPT is that it cannot generate meaningful narratives. Without memory or point of view, ChatGPT has no stories to tell and no lessons to impart. Since the days of our Paleolithic ancestors, humans have shared emotionally charged stories around the campfire to ward off both external dangers—like saber-toothed tigers—and internal demons—obsessions, pride, and unbridled desires that can lead to madness. These tales resonate because they acknowledge a truth that thoughtful people, religious or not, can agree on: we are flawed and prone to self-destruction. It’s this precarious condition that makes storytelling essential. Stories filled with struggle, regret, and redemption offer us more than entertainment; they arm us with the tools to stay grounded and resist our darker impulses. ChatGPT, devoid of human frailty, cannot offer us such wisdom.

    Because ChatGPT has no memory, it cannot give us the stories and life lessons we crave and have craved for thousands of years in the form of folk tales, religious screeds, philosophical treatises, and personal manifestos. 

    That ChatGPT can only muster a Wikipedia-like description of a cinnamon roll hardly makes it competitive with humans when it comes to the kind of writing we crave with all of our heart, mind, and soul. 

    One of ChatGPT’s greatest disadvantages is that, unlike us, it is not a fallen creature slogging through the freak show that is this world, to use the language of George Carlin. Nor does ChatGPT understand how our fallen condition can put us at the mercy of our own internal demons and obsessions that cause us to warp reality that leads to dysfunction. In other words, ChatGPT does not have a haunted mind and without any oppressive memories, it cannot impart stories of value to us.

    When I think of being haunted, I think of one emotion above all others–regret. Regret doesn’t just trap people in the past—it embalms them in it, like a fly in amber, forever twitching with regret. Case in point: there are  three men I know who, decades later, are still gnashing their teeth over a squandered romantic encounter so catastrophic in their minds, it may as well be their personal Waterloo.

    It was the summer of their senior year, a time when testosterone and bad decisions flowed freely. Driving from Bakersfield to Los Angeles for a Dodgers game, they were winding through the Grapevine when fate, wearing a tie-dye bikini, waved them down. On the side of the road, an overheated vintage Volkswagen van—a sunbaked shade of decayed orange—coughed its last breath. Standing next to it? Four radiant, sun-kissed Grateful Dead followers, fresh from a concert and still floating on a psychedelic afterglow.

    These weren’t just women. These were ethereal, free-spirited nymphs, perfumed in the intoxicating mix of patchouli, wild musk, and possibility. Their laughter tinkled like wind chimes in an ocean breeze, their sun-bronzed shoulders glistening as they waved their bikinis and spaghetti-strap tops in the air like celestial signals guiding sailors to shore.

    My friends, handy with an engine but fatally clueless in the ways of the universe, leaped to action. With grease-stained heroism, they nursed the van back to health, coaxing it into a purring submission. Their reward? An invitation to abandon their pedestrian baseball game and join the Deadhead goddesses at the Santa Barbara Summer Solstice Festival—an offer so dripping with hedonistic promise that even a monk would’ve paused to consider.

    But my friends? Naïve. Stupid. Shackled to their Dodgers tickets as if they were golden keys to Valhalla. With profuse thanks (and, one imagines, the self-awareness of a plank of wood), they declined. They drove off, leaving behind the road-worn sirens who, even now, are probably still dancing barefoot somewhere, oblivious to the tragedy they unwittingly inflicted.

    Decades later, my friends can’t recall a single play from that Dodgers game, but they can describe—down to the last bead of sweat—the precise moment they drove away from paradise. Bring it up, and they revert into snarling, feral beasts, snapping at each other over whose fault it was that they abandoned the best opportunity of their pathetic young lives. Their girlfriends, beautiful and present, might as well be holograms. After all, these men are still spiritually chained to that sun-scorched highway, watching the tie-dye bikini tops flutter in the wind like banners of a lost kingdom.

    Insomnia haunts them. Their nights are riddled with fever dreams of sun-drenched bacchanals that never happened. They wake in cold sweats, whispering the names of women they never actually kissed. Their relationships suffer, their souls remain malnourished, and all because, on that fateful day, they chose baseball over Dionysian bliss.

    Regret couldn’t have orchestrated a better long-term psychological prison if it tried. It’s been forty years, but they still can’t forgive themselves. They never will. And in their minds, somewhere on that dusty stretch of highway, a rusted-out orange van still sits, idling in the sun, filled with the ghosts of what could have been.

    Humans have always craved stories of folly, and for good reason. First, there’s the guilty pleasure of witnessing someone else’s spectacular downfall—our inner schadenfreude finds comfort in knowing it wasn’t us who tumbled into the abyss of human madness. Second, these stories hold up a mirror to our own vulnerability, reminding us that we’re all just one bad decision away from disaster.

    As a teacher, I can tell you that if you don’t anchor your ideas to a compelling story, you might as well be lecturing to statues. Without a narrative hook, students’ eyes glaze over, their minds drift, and you’re left questioning every career choice that led you to this moment. But if you offer stories brimming with flawed characters—haunted by regrets so deep they’re like Lot’s wife, frozen and unmovable in their failure—students perk up. These narratives speak to something profoundly human: the agony of being broken and the relentless desire to become whole again. That’s precisely where AI like ChatGPT falls short. It may craft mechanically perfect prose, but it has never known the sting of regret or the crushing weight of shame. Without that depth, it can’t deliver the kind of storytelling that truly resonates.

  • The Last Writing Instructor: Holding the Line in a Post-Thinking World

    The Last Writing Instructor: Holding the Line in a Post-Thinking World

    Last night, I was trapped in a surreal nightmare—a bureaucratic limbo masquerading as a college elective. The course had no purpose other than to grant students enough credits to graduate. No curriculum, no topics, no teaching—just endless hours of supervised inertia. My role? Clock in, clock out, and do absolutely nothing.

    The students were oddly cheerful, like campers at some low-budget retreat. They brought packed lunches, sprawled across desks, and killed time with card games and checkers. They socialized, laughed, and blissfully ignored the fact that this whole charade was a colossal waste of time. Meanwhile, I sat there, twitching with existential dread. The urge to teach something—anything—gnawed at my gut. But that was forbidden. I was there to babysit, not educate.

    The shame hung on me like wet clothes. I felt obsolete, like a relic from the days when education had meaning. The minutes dragged by like a DMV line, each one stretching into a slow, agonizing eternity. I wondered if this Kafkaesque hell was a punishment for still believing that teaching is more than glorified daycare.

    This dream echoes a fear many writing instructors share: irrelevance. Daniel Herman explores this anxiety in his essay, “The End of High-School English.” He laments how students have always found shortcuts to learning—CliffsNotes, YouTube summaries—but still had to confront the terror of a blank page. Now, with AI tools like ChatGPT, that gatekeeping moment is gone. Writing is no longer a “metric for intelligence” or a teachable skill, Herman claims.

    I agree to an extent. Yes, AI can generate competent writing faster than a student pulling an all-nighter. But let’s not pretend this is new. Even in pre-ChatGPT days, students outsourced essays to parents, tutors, and paid services. We were always grappling with academic honesty. What’s different now is the scale of disruption.

    Herman’s deeper question—just how necessary are writing instructors in the age of AI—is far more troubling. Can ChatGPT really replace us? Maybe it can teach grammar and structure well enough for mundane tasks. But writing instructors have a higher purpose: teaching students to recognize the difference between surface-level mediocrity and powerful, persuasive writing.

    Herman himself admits that ChatGPT produces essays that are “adequate” but superficial. Sure, it can churn out syntactically flawless drivel, but syntax isn’t everything. Writing that leaves a lasting impression—“Higher Writing”—is built on sharp thought, strong argumentation, and a dynamic authorial voice. Think Baldwin, Didion, or Nabokov. That’s the standard. I’d argue it’s our job to steer students away from lifeless, task-oriented prose and toward writing that resonates.

    Herman’s pessimism about students’ indifference to rhetorical nuance and literary flair is half-baked at best. Sure, dive too deep into the murky waters of Shakespearean arcana or Melville’s endless tangents, and you’ll bore them stiff—faster than an unpaid intern at a three-hour faculty meeting. But let’s get real. You didn’t go into teaching to serve as a human snooze button. You went into sales, whether you like it or not. And what are you selling? Persona, ideas, and the antidote to chaos.

    First up: persona. It’s not just about writing—it’s about becoming. How do you craft an identity, project it with swagger, and use it to navigate life’s messiness? When students read Oscar Wilde, Frederick Douglass, or Octavia Butler, they don’t just see words on a page—they see mastery. A fully-realized persona commands attention with wit, irony, and rhetorical flair. Wilde nailed it when he said, “The first task in life is to assume a pose.” He wasn’t joking. That pose—your persona—grows stronger through mastery of language and argumentation. Once students catch a glimpse of that, they want it. They crave the power to command a room, not just survive it. And let’s be clear—ChatGPT isn’t in the persona business. That’s your turf.

    Next: ideas. You became a teacher because you believe in the transformative power of ideas. Great ideas don’t just fill word counts; they ignite brains and reshape worldviews. Over the years, students have thanked me for introducing them to concepts that stuck with them like intellectual tattoos. Take Bread and Circus—the idea that a tiny elite has always controlled the masses through cheap food and mindless entertainment. Students eat that up (pun intended). Or nihilism—the grim doctrine that nothing matters and we’re all here just killing time before we die. They’ll argue over that for hours. And Rousseau’s “noble savage” versus the myth of human hubris? They’ll debate whether we’re pure souls corrupted by society or doomed from birth by faulty wiring like it’s the Super Bowl of philosophy.

    ChatGPT doesn’t sell ideas. It regurgitates language like a well-trained parrot, but without the fire of intellectual curiosity. You, on the other hand, are in the idea business. If you’re not selling your students on the thrill of big ideas, you’re failing at your job.

    Finally: chaos. Most people live in a swirling mess of dysfunction and anxiety. You sell your students the tools to push back: discipline, routine, and what Cal Newport calls “deep work.” Writers like Newport, Oliver Burkeman, Phil Stutz, and Angela Duckworth offer blueprints for repelling chaos and replacing it with order. ChatGPT can’t teach students to prioritize, strategize, or persevere. That’s your domain.

    So keep honing your pitch. You’re selling something AI can’t: a powerful persona, the transformative power of ideas, and the tools to carve order from the chaos. ChatGPT can crunch words all it wants, but when it comes to shaping human beings, it’s just another cog. You? You’re the architect.

    Right?

    Maybe.

    Let’s not get too comfortable in our intellectual trench coats. While we pride ourselves on persona, big ideas, and resisting chaos, we’re up against something far more insidious than plagiarism. AI isn’t just outsourcing thought—it’s rewiring brains. In the Black Mirror episode “Joan Is Awful,” we watch a woman’s life turned into a deepfake soap opera, customized for mass consumption, with every gesture, flaw, and confession algorithmically mined and exaggerated. What’s most horrifying isn’t the surveillance or the celebrity—it’s the flattening. Joan becomes a caricature of herself, optimized for engagement and stripped of depth. Sound familiar?

    This is what AI is doing to writing—and by extension, to thought. The more students rely on ChatGPT, the more their rhetorical instincts, their voice, their capacity for struggle and ambiguity atrophy. Like Joan, they become algorithmically curated versions of themselves. Not writers. Not thinkers. Just language puppets speaking in borrowed code. No matter how persuasive our arguments or electrifying our lectures, we’re still up against the law of digital gravity: if it’s easier, faster, and “good enough,” it wins.

    So what’s the best move? Don’t fight AI—outgrow it. If we’re serious about salvaging human expression, we must redesign how we teach writing. Center the work around experiences AI can’t mimic: in-class writing, collaborative thinking, embodied storytelling, rhetorical improvisation, intellectual risk. Create assignments that need a human brain and reward discomfort over convenience. The real enemy isn’t ChatGPT—it’s complacency. If we let the Joanification of our students continue, we’re not just losing the classroom—we’re surrendering the soul. It’s time to fight not just for writing, but for cognition itself.