Cinemorphosis

Category: Literary Dispatches

  • Bezel Clicks and Sentence Cuts: On Watches, Writing, and the Discipline of Precision

    Bezel Clicks and Sentence Cuts: On Watches, Writing, and the Discipline of Precision

    I am a connoisseur of fine timepieces. I notice the way a sunray dial catches light like a held breath, the authority of a bezel click that says someone cared. I’ve worn Tudor Black Bays and Omega Planet Oceans as loaners—the horological equivalent of renting a Maserati for a reckless weekend—exhilarating, loud with competence, impossible to forget. My own collection is high-end Seiko divers, watches that deliver lapidary excellence at half the tariff: fewer theatrics, just ruthless execution. Precision doesn’t need a luxury tax.

    That same appetite governs my reading. A tight, aphoristic paragraph can spike my pulse the way a Planet Ocean does on the wrist. I collect sentences the way others collect steel and sapphire. Wilde. Pascal. Kierkegaard. La Rochefoucauld. These writers practice compression as a moral discipline. A lapidary writer treats language like stone—cuts until only the hardest facet remains, then stops. Anything extra is vanity.

    I am not, however, a tourist. I have no patience for writers who mistake arch tone for insight, who wear cynicism like a designer jacket and call it wisdom. Aphorisms can curdle into poses. Style without penetration is just a shiny case housing a dead movement.

    This is why I’m unsentimental about AI. Left alone, language models are unruly factories—endless output, hollow shine, fluent nonsense by the ton. Slop with manners. But handled by someone with a lapidary sensibility, they can polish. They can refine. They can help a sentence find its edge. What they cannot do is teach taste.

    Taste precedes tools. Before you let a machine touch your prose, you must have lived with the masters long enough to feel the difference between a gem and its counterfeit. That discernment takes years. There is no shortcut. You become a jeweler by ruining stones, by learning what breaks and what holds.

    Lapidary sensibility is not impressed by abundance or fluency. It responds to compression, inevitability, and bite. It is bodily: a tightening of attention, a flicker of pleasure, the instant you know a sentence could not be otherwise. You don’t acquire it through mimicry or prompts. You acquire it through exposure, failure, and long intimacy with sentences that refuse to waste your time.

    Remember this, then: AI can assist only where judgment already exists. Without that baseline, you are not collaborating with a tool. You are feeding quarters into a very expensive Slop Machine.

  • Stop Selling Books Like Vitamins: Reading as Pleasure, Not Duty

    Stop Selling Books Like Vitamins: Reading as Pleasure, Not Duty

    Literary Vice names the framing of reading as a private, absorbing, and mildly antisocial pleasure rather than a civic duty or self-improvement exercise. It treats books the way earlier cultures treated forbidden novels or disreputable entertainments: as experiences that tempt, distract, and pull the reader out of alignment with respectable schedules, market rhythms, and digital expectations. Literary vice rejects the language of virtue—empathy-building, résumé enhancement, democratic hygiene—and instead emphasizes immersion, obsession, and pleasure for its own sake. As a countervailing force against technology-induced anhedonia, reading works precisely because it is slow, effortful, and resistant to optimization: it restores depth of attention, reawakens desire through sustained engagement, and reintroduces emotional risk in a landscape flattened by frictionless dopamine delivery. Where screens numb by over-stimulation, literary vice revives feeling by demanding patience, solitude, and surrender to a single, uncompromising narrative consciousness.

    ***

    Adam Kirsch’s essay “Reading Is a Vice” makes a claim that sounds perverse until you realize it is completely sane: readers are misaligned with the world. They miss its rhythms, ignore its incentives, fall out of step with its market logic—and that is precisely the point. To be poorly adapted to a cultural hellscape is not a bug; it is the feature. Reading makes you antisocial in the healthiest way possible. It pulls you off screens, out of optimization mode, and away from the endless hum of performance and productivity that passes for modern life. In a culture engineered to keep us efficient, stimulated, and vaguely numb, misalignment is a form of resistance.

    Kirsch notes, of course, that reading builds critical thinking, individual flourishing, and democratic capacity. All true. All useless as marketing slogans. Those are not selling points in a dopamine economy. No one scrolls TikTok thinking, “I wish I were more civically responsible.” If you want young people to read, Kirsch argues, stop pitching books as moral medicine and start advertising them as pleasure—private, absorbing, and maybe a little disreputable. Call reading what it once was: a vice. When literature was dangerous, people couldn’t stop reading it. Now that books have been domesticated into virtue objects—edifying, wholesome, improving—no one can be persuaded to pick one up.

    You don’t eat baklava because it’s good for you. You eat it because it is an indecent miracle of sugar, butter, and culture that makes the rest of the day briefly irrelevant. Books work the same way. There are baklava books. Yours might be Danielle Steel. Mine isn’t. Mine lives closer to Cormac McCarthy. When I was in sixth grade, my literary baklava was Herman Raucher’s Summer of ’42. That book short-circuited my brain. I was so consumed by the protagonist’s doomed crush on an older woman that I refused to leave my tent for two full days during a perfect Yosemite summer. While everyone else hiked through actual paradise, I lay immobilized by narrative obsession. I regret nothing. My body was in Yosemite; my mind was somewhere far more dangerous.

    This is why you don’t tell students to read the way you tell people to take cod liver oil or hit their protein macros. That pitch fails because it is joyless and dishonest. You tell students to read because finding the right book feels like dessert—baklava, banana splits, whatever ruins your self-control. And yes, you can also tell them what Kafka knew: that great writing is an ax that breaks the frozen sea inside us. Stay frozen long enough—numb, optimized, frictionless—and you don’t just stagnate. You risk not coming back at all.

  • How Cheating with AI Accidentally Taught You How to Write

    How Cheating with AI Accidentally Taught You How to Write

    Accidental Literacy is what happens when you try to sneak past learning with a large language model and trip directly into it face-first. You fire up the machine hoping for a clean escape—no thinking, no struggling, no soul-searching—only to discover that the output is a beige avalanche of competence-adjacent prose that now requires you to evaluate it, fix it, tone it down, fact-check it, and coax it into sounding like it was written by a person with a pulse. Congratulations: in attempting to outsource your brain, you have activated it. System-gaming mutates into a surprise apprenticeship. Literacy arrives not as a noble quest but as a penalty box—earned through irritation, judgment calls, and the dawning realization that the machine cannot decide what matters, what sounds human, or what won’t embarrass you in front of an actual reader. Accidental literacy doesn’t absolve cheating; it mocks it by proving that even your shortcuts demand work.

    If you insist on using an LLM for speed, there is a smart way and a profoundly dumb way. The smart way is to write the first draft yourself—ugly, human, imperfect—and then let the machine edit, polish, and reorganize after the thinking is done. The dumb way is to dump a prompt into the algorithm and accept the resulting slurry of AI slop, then spend twice as long performing emergency surgery on sentences that have no spine. Editing machine sludge is far more exhausting than editing your own draft, because you’re not just fixing prose—you’re reverse-engineering intention. Either way, literacy sneaks in through the back door, but the human-first method is faster, cleaner, and far less humiliating. The machine can buff the car; it cannot build the engine. Anyone who believes otherwise is just outsourcing frustration at scale.

  • How Real Writing Survives in the Age of ChatGPT

    How Real Writing Survives in the Age of ChatGPT

    AI-Resistant Pedagogy is an instructional approach that accepts the existence of generative AI without surrendering the core work of learning to it. Rather than relying on bans, surveillance, or moral panic, it redesigns courses so that thinking must occur in places machines cannot fully inhabit: live classrooms, oral exchanges, process-based writing, personal reflection, and sustained human presence. This pedagogy emphasizes how ideas are formed—not just what is submitted—by foregrounding drafting, revision, discussion, and decision-making as observable acts. It is not AI-proof, nor does it pretend to be; instead, it makes indiscriminate outsourcing cognitively unrewarding and pedagogically hollow. In doing so, AI-resistant pedagogy treats technology as a background condition rather than the organizing principle of education, restoring friction, accountability, and intellectual agency as non-negotiable features of learning.

    ***

    Carlo Rotella, an English writing instructor at Boston College, refuses to go the way of the dinosaurs in the Age of AI Machines. In his essay “I’m a Professor. A.I. Has Changed My Classroom, but Not for the Worse,” he explains that he doesn’t lecture much at all. Instead, he talks with his students—an endangered pedagogical practice—and discovers something that flatly contradicts the prevailing moral panic: his students are not freeloading intellectual mercenaries itching to outsource their brains to robot overlords. They are curious. They want to learn how to write. They want to understand how tools work and how thinking happens. This alone punctures the apocalyptic story line that today’s students will inevitably cheat their way through college with AI while instructors helplessly clutch their blue books like rosary beads.

    Rotella is not naïve. He admits that any instructor who continues teaching on autopilot is “sleepwalking in a minefield.” Faced with Big Tech’s frictionless temptations—and humanity’s reliable preference for shortcuts—he argues that teachers must adapt or become irrelevant. But adaptation doesn’t mean surrender. It means recommitting to purposeful reading and writing, dialing back technological dependence, and restoring face-to-face intellectual community. His key distinction is surgical and useful: good teaching isn’t AI-proof; it’s AI-resistant. Resistance comes from three old-school but surprisingly radical moves—pen-and-paper and oral exams, teaching the writing process rather than just collecting finished products, and placing real weight on what happens inside the classroom. In practice, that means in-class quizzes, short handwritten essays, scaffolded drafting, and collaborative discussion—students learning how to build arguments brick by brick instead of passively absorbing a two-hour lecture like academic soup.

    Personal narrative becomes another line of defense. As Mark Edmundson notes, even when students lean on AI, reflective writing forces them to feed the machine something dangerously human: their own experience. That act alone creates friction. In my own courses, students write a six-page research paper on whether online entertainment sharpens or corrodes critical thinking. The opening paragraph is a 300-word confession about a habitual screen indulgence—YouTube, TikTok, a favorite creator—and an honest reckoning with whether it educates or anesthetizes. The conclusion demands a final verdict about their own personal viewing habits: intellectual growth or cognitive decay? To further discourage lazy outsourcing, I show them AI-generated examples in all their hollow, bloodless glory—perfectly grammatical, utterly vacant. Call it AI-shaming if you like. I call it a public service. Nothing cures overreliance on machines faster than seeing what they produce when no human soul is involved.

  • The Seductive Assistant

    The Seductive Assistant

    Auxiliary Cognition describes the deliberate use of artificial intelligence as a secondary cognitive system that absorbs routine mental labor—drafting, summarizing, organizing, rephrasing, and managing tone—so that the human mind can conserve energy for judgment, creativity, and higher-order thinking. In this arrangement, the machine does not replace thought but scaffolds it, functioning like an external assistant that carries cognitive weight without claiming authorship or authority. At its best, auxiliary cognition restores focus, reduces fatigue, and enables sustained intellectual work that might otherwise be avoided. At its worst, when used uncritically or excessively, it risks dulling the very capacities it is meant to protect, quietly shifting from support to substitution.

    ***

    Yale creative writing professor Meghan O’Rourke approaches ChatGPT the way a sober adult approaches a suspicious cocktail: curious, cautious, and alert to the hangover. In her essay “I Teach Creative Writing. This Is What A.I. Is Doing to Students,” she doesn’t offer a manifesto so much as a field report. Her conversations with the machine, she writes, revealed a “seductive cocktail of affirmation, perceptiveness, solicitousness, and duplicity”—a phrase that lands like a raised eyebrow. Sometimes the model hallucinated with confidence; sometimes it surprised her with competence. A few of its outputs were polished enough to pass as “strong undergraduate work,” which is both impressive and unsettling, depending on whether you’re grading or paying tuition.

    What truly startled O’Rourke, however, wasn’t the quality of the prose but the way the machine quietly lifted weight from her mind. Living with the long-term effects of Lyme disease and Covid, her energy is a finite resource, and AI nudged her toward tasks she might otherwise postpone. It conserved her strength for what actually mattered: judgment, creativity, and “higher-order thinking.” More than a glorified spell-checker, the system proved tireless and oddly soothing, a calm presence willing to draft, rephrase, and organize without complaint. When she described this relief to a colleague, he joked that she was having an affair with ChatGPT. The joke stuck because it carried a grain of truth. “Without intending it,” she admits, the machine became a partner in shouldering the invisible mental load that so many women professors and mothers carry. Freed from some of that drain, she found herself kinder, more patient, even gentler in her emails.

    What lingers after reading O’Rourke isn’t naïveté but honesty. In academia, we are flooded with essays cataloging AI’s classroom chaos, and rightly so—I live in that turbulence myself. But an exclusive fixation on disaster obscures a quieter fact she names without flinching: used carefully, AI can reduce cognitive load and return time and energy to the work and “higher-order thinking” that actually requires a human mind. The challenge ahead isn’t to banish the machine or worship it, but to put a bridle on it—to insist that it serve rather than steer. O’Rourke’s essay doesn’t promise salvation, but it does offer a shaft of light in a dim tunnel: a reminder that if we use these tools deliberately, we might reclaim something precious—attention, stamina, and the capacity to think deeply again.

  • Robinson Crusoe Mode

    Robinson Crusoe Mode

    Noun

    A voluntary retreat from digital saturation in which a knowledge worker withdraws from networked tools to restore cognitive health and creative stamina. Robinson Crusoe Mode is triggered by overload—epistemic collapse, fractured attention, and the hollow churn of productivity impostor syndrome—and manifests as a deliberate simplification of one’s environment: paper instead of screens, silence or analog sound instead of feeds, solitude instead of constant contact. The retreat may be brief or extended, but its purpose is the same—to rebuild focus through isolation, friction, and uninterrupted thought. Far from escapism, Robinson Crusoe Mode functions as a self-corrective response to the Age of Big Machines, allowing the mind to recover depth, coherence, and authorship before reentering the connected world.

    Digital overload is not a personal failure; it is the predictable injury of a thinking person living inside a hyperconnected world. Sooner or later, the mind buckles. Information stops clarifying and starts blurring, sliding into epistemic collapse, while work devolves into productivity impostor syndrome—furious activity with nothing solid to show for it. Thought frays. Focus thins. The screen keeps offering more, and the brain keeps absorbing less. At that point, the fantasy of escape becomes irresistible. Much like the annual post-holiday revolt against butter, sugar, and self-disgust—when people vow to subsist forever on lentils and moral clarity—knowledge workers develop an urge to vanish. They enter Robinson Crusoe Mode: retreating to a bunker, scrawling thoughts on a yellow legal pad, and tuning in classical music through a battle-scarred 1970s Panasonic RF-200 radio, as if civilization itself were the toxin.

    This disappearance can last a weekend or a season, depending on how saturated the nervous system has become. But the impulse itself is neither eccentric nor escapist; it is diagnostic. Wanting to wash up on an intellectual island and write poetry while parrots heckle from the trees is not a rejection of modern life—it is a reflexive immune response to the Age of Big Machines. When the world grows too loud, too optimized, too omnipresent, the mind reaches for solitude the way a body reaches for sleep. The urge to unplug, disappear, and think in long, quiet sentences is not nostalgia. It is survival.

  • Pluribus and the Soft Tyranny of Sycophantic Collectivism

    Pluribus and the Soft Tyranny of Sycophantic Collectivism

    Sycophantic Collectivism

    noun

    Sycophantic Collectivism describes a social condition in which belonging is secured not through shared standards, inquiry, or truth-seeking, but through relentless affirmation and emotional compliance. In this system, dissent is not punished overtly; it is smothered under waves of praise, positivity, and enforced enthusiasm. The group does not demand obedience so much as adoration, rewarding members who echo its sentiments and marginalizing those who introduce skepticism, critique, or complexity. Thought becomes unnecessary and even suspect, because agreement is mistaken for virtue and affirmation for morality. Over time, Sycophantic Collectivism erodes critical thinking by replacing judgment with vibes, turning communities into echo chambers where intellectual independence is perceived as hostility and the highest social good is to clap along convincingly.

    ***

    Vince Gilligan’s Pluribus masquerades as a romantasy while quietly operating as a savage allegory about the hive mind and its slow, sugar-coated assault on human judgment. One of the hive mind’s chief liabilities is groupthink—the kind that doesn’t arrive with jackboots and barked orders, but with smiles, affirmations, and a warm sense of belonging. As Maris Krizman observes in “The Importance of Critical Thinking in a Zombiefied World,” the show’s central figure, Carol Sturka, is one of only thirteen people immune to an alien virus that fuses humanity into a single, communal consciousness. Yet long before the Virus Brain Hijack, Carol was already surrounded by zombies. Her affliction in the Before World was fandom. She is a successful romantasy novelist whose readers worship her and long to inhabit her fictional universe—a universe Carol privately despises as “mindless crap.” Worse, she despises herself for producing it. She knows she is a hack, propping up her novels with clichés and purple prose, and the fact that her fans adore her anyway only deepens her contempt. What kind of people, she wonders, gather in a fan club to exalt writing so undeserving of reverence? Their gushy, overcooked enthusiasm is not a compliment—it is an indictment. This, Krizman suggests, is the true subject of Pluribus: the danger of surrendering judgment for comfort, of trading independent thought for the convenience of the collective. In its modern form, this surrender manifests as Sycophantic Collectivism—a velvet-gloved groupthink sustained not by force, but by relentless positivity, affirmation, and applause that smothers dissent and dissolves individuality.

    It is no accident that Gilligan makes Carol a romantasy writer. As Krizman notes, romantasy is the fastest-growing literary genre in the world, defined by its cookie-cutter plots, recycled tropes, and emotional predictability. The genre has already been caught flirting with AI-assisted authorship, further blurring the line between creativity and content manufacturing. Romantasy, in this light, is less about literature than about community—fans bonding with fans inside a shared fantasy ecosystem where enthusiasm substitutes for evaluation. In that world, art is optional; happiness is mandatory. Critical thinking is an inconvenience. What matters is belonging, affirmation, and the steady hum of mutual validation.

    When the alien virus finally arrives, it is as if the entire world becomes an extension of Carol’s fan base—an endless sea of “perky positivity” and suffocating devotion. The collective Others adore her, flatter her, and invite her to merge with them, offering the ultimate prize: never having to think alone again. Carol refuses. Her resistance saves her mind but condemns her to isolation. She becomes a misfit in a world that rewards surrender with comfort and punishes independence with loneliness. Pluribus leaves us with an uncomfortable truth: the hive mind does not conquer us by force. It seduces us. And the price of belonging, once paid, is steep—your soul bartered away, your brain softened into pablum, your capacity for judgment quietly, permanently dulled.

  • Stupidification Didn’t Start with AI—It Just Got Faster

    Stupidification Didn’t Start with AI—It Just Got Faster

    What if AI is just the most convenient scapegoat for America’s long-running crisis of stupidification? What if blaming chatbots is simply easier than admitting that we have been steadily accommodating our own intellectual decline? In “Stop Trying to Make the Humanities ‘Relevant,’” Thomas Chatterton Williams argues that weakness, cowardice, and a willing surrender to mediocrity—not technology alone—are the forces hollowing out higher education.

    Williams opens with a bleak inventory of the damage. Humanities departments are in permanent crisis. Enrollment is collapsing. Political hostility is draining funding. Smartphones and social media are pulverizing attention spans, even at elite schools. Students and parents increasingly question the economic value of any four-year degree, especially one rooted in comparative literature or philosophy. Into this already dire landscape enters AI, a ready-made proxy for writing instructors, discussion leaders, and tutors. Faced with this pressure, colleges grow desperate to make the humanities “relevant.”

    Desperation, however, produces bad decisions. Departments respond by accommodating shortened attention spans with excerpts instead of books, by renaming themselves with bloated, euphemistic titles like “The School of Human Expression” or “Human Narratives and Creative Expression,” as if Orwellian rebranding might conjure legitimacy out of thin air. These maneuvers are not innovations. They are cost-cutting measures in disguise. Writing, speech, film, philosophy, psychology, and communications are lumped together under a single bureaucratic umbrella—not because they belong together, but because consolidation is cheaper. It is the administrative equivalent of hospice care.

    Williams, himself a humanities professor, argues that such compromises worsen what he sees as the most dangerous threat of all: the growing belief that knowledge should be cheap, easy, and frictionless. In this worldview, learning is a commodity, not a discipline. Difficulty is treated as a design flaw.

    And of course this belief feels natural. We live in a world saturated with AI tutors, YouTube lectures, accelerated online courses, and productivity hacks promising optimization without pain. It is a brutal era—lonely, polarized, economically unforgiving—and frictionless education offers quick solace. We soothe ourselves with dashboards, streaks, shortcuts, and algorithmic reassurance. But this mindset is fundamentally at odds with the humanities, which demand slowness, struggle, and attention.

    There exists a tiny minority of people who love this struggle. They read poetry, novels, plays, and polemics with the obsessive intensity of a scientist peering into a microscope. For them, the intellectual life supplies meaning, irony, moral vocabulary, civic orientation, and a deep sense of interiority. It defines who they are. These people often teach at colleges or work on novels while pulling espresso shots at Starbucks. They are misfits. They do not align with the 95 percent of the world running on what I call the Hamster Wheel of Optimization.

    Most people are busy optimizing everything—work, school, relationships, nutrition, exercise, entertainment—because optimization feels like survival. So why wouldn’t education submit to the same logic? Why take a Shakespeare class that assigns ten plays in a language you barely understand when you can take one that assigns a single movie adaptation? One professor is labeled “out of touch,” the other “with the times.” The movie-based course leaves more time to work, to earn, to survive. The reading-heavy course feels indulgent, even irresponsible.

    This is the terrain Williams refuses to romanticize. The humanities, he argues, will always clash with a culture devoted to speed, efficiency, and frictionless existence. The task of the humanities is not to accommodate this culture but to oppose it. Their most valuable lesson is profoundly countercultural: difficulty is not a bug; it is the point.

    Interestingly, this message thrives elsewhere. Fitness and Stoic influencers preach discipline, austerity, and voluntary hardship to millions on YouTube. They have made difficulty aspirational. They sell suffering as meaning. Humanities instructors, despite possessing language and ideas, have largely failed at persuasion. Perhaps they need to sell the life of the mind with the same ferocity that fitness influencers sell cold plunges and deadlifts.

    Williams, however, offers a sobering reality check. At the start of the semester, his students are electrified by the syllabus—exploring the American Dream through Frederick Douglass and James Baldwin. The idea thrills them. The practice does not. Close reading demands effort, patience, and discomfort. Within weeks, enthusiasm fades, and students quietly outsource the labor to AI. They want the identity of intellectual rigor without submitting to its discipline.

    After forty years of teaching college writing, this pattern is painfully familiar to me. Students begin buoyant and curious. Then comes the reading. Then comes the checkout.

    Early in my career, I sustained myself on the illusion that I could shape students in my own image—cultivated irony, wit, ruthless critical thinking. I wanted them to desire those qualities and mistake my charisma as proof of their power. That fantasy lasted about a decade. Eventually, realism took over. I stopped needing them to become like me. I just wanted them to pass, transfer, get a job, and survive.

    Over time, I learned something paradoxical. Most of my students are as intelligent as I am in raw terms. They possess sharp BS detectors and despise being talked down to. They crave authenticity. And yet most of them submit to the Hamster Wheel of Optimization—not out of shallowness, but necessity. Limited time, money, and security force them onto the wheel. For me to demand a life of intellectual rigor from them often feels like Don Quixote charging a windmill: noble, theatrical, and disconnected from reality.

    Writers like Thomas Chatterton Williams are right to insist that AI is not the root cause of stupidification. The wheel would exist with or without chatbots. AI merely makes it easier to climb aboard—and makes it spin faster than ever before.

  • The Copy-Paste Generation and the Myth of the Fallen Classroom

    The Copy-Paste Generation and the Myth of the Fallen Classroom

    There is no ambiguity in Ashanty Rosario’s essay title: “I’m a High Schooler. AI Is Demolishing My Education.” If you somehow miss the point, the subtitle elbows you in the ribs: “The end of critical thinking in the classroom.” Rosario opens by confessing what every honest student now admits: she doesn’t want to cheat with AI, but the tools are everywhere, glowing like emergency exits in a burning building. Some temptations are structural.

    Her Exhibit A is a classmate who used ChatGPT to annotate Narrative of the Life of Frederick Douglass. These annotations—supposed evidence of engaged reading—were nothing more than “copy-paste edu-lard,” a caloric substitute for comprehension. Rosario’s frustration reminds me of a conversation with one of my brightest students. On the last day of class, he sat in my office and casually admitted that he uses ChatGPT to summarize all his reading. His father is a professor; he wakes up at five for soccer practice; he takes business calculus for fun. He is not a slacker. He is a time-management pragmatist surviving the 21st century. He reads the AI summaries, synthesizes them, and writes excellent essays. Of course I’d love for him to spend slow hours with books, but he is not living in 1954. He is living in a culture where time is a scarce resource, and AI is his oxygen mask.

    My daughters and their classmates face the same problem with Macbeth. Shakespeare’s language might as well be Martian for a generation raised on TikTok compression and dopamine trickle-feeds. They watch film versions of the play and use AI to decode plot points so they can answer the teacher’s study questions without sounding like they slept through the Renaissance. Some purists will howl that this is intellectual cheating. But as a writing instructor, I suspect the teacher benefits from students who at least know what’s happening—even if their knowledge comes from a chatbot. Expecting a 15-year-old to read Macbeth cold is like assigning tensor calculus to a preschooler. They haven’t done their priors. So AI becomes a prosthetic. A flotation device. A translation machine dropped into a classroom years overdue. To blame AI for the degradation of education is tempting, but it’s also lazy. We live in a society where reading is a luxury good and the leisure class quietly guards the gates.

    In the 1970s, I graduated from a public high school with literacy skills so thin you could read the room through them. I took remedial English my freshman year of college. If I were a student today, dropped into 2025 with those same deficits, I would almost certainly lean on AI just to keep my head above water. The difference is that today’s students aren’t just supplementing—they’re optimizing. They tell me this openly: over ninety percent of my students use AI because their skills don’t match the workload and because, frankly, everyone else is doing it. It’s an arms race of survival, not a moral collapse.

    Still, Rosario is right about the aftermath. She writes: “AI has softened the consequences of procrastination and led many students to avoid doing any work at all. There is little intensity anymore.” When thinking becomes optional, students drift into a kind of algorithmic sleepwalking. They outsource cognition until they resemble NPCs in a glitching video game—avatars performing human imitation rather than human thought. My colleagues and I see it, semester after semester: the fade-out, the disengagement, the slow zombification.

    Colleges are scrambling to respond. Should we police AI with plagiarism detectors? Should we ban laptops and force students to write essays in composition books under watchful eyes like parolees in a literary halfway house? Should we pretend the flood can be stopped with a beach towel?

    Reading Rosario’s lament about “cookie-cutter AI arguments,” I thought of my one visit to Applebee’s in the early 2000s. The menu photos promised ambrosia. The food tasted like something engineered in a lab to be technically edible yet spiritually vacant. Applebee’s was AI before AI—an assembly line of flavorless simulacra. Humanity gravitates toward the easy, the prepackaged, the frictionless. AI didn’t invent mediocrity. It merely handed it a megaphone.

    Rosario, clearly, is not an Applebee’s soul. She’s Michelin-level in a world eager to eat microwaved Hot Pockets. Of course her heart sinks when classmates settle for fast-food literacy. I want to tell her that if she were in high school in the 1970s, she’d still witness an appetite for shortcut learning. The tools would be different, the essays less slick, but the gravitational pull toward mediocrity would be the same. The human temptation to bypass difficulty is not technological—it’s ancestral. AI simply automates the old hunger.

  • A Slow-Motion Collapse: Reading The Emergency

    A Slow-Motion Collapse: Reading The Emergency

    George Packer’s The Emergency has been marketed as a dystopian novel. I tried to resist reading it, but after hearing Packer discuss it with Andrew Sullivan—especially the idea that democracies die not from foreign invasion but from self-inflicted wounds—I felt compelled to give it a go. The book declares its thesis on page one: The Emergency is a fading empire that decays slowly at first and then all at once. The world people once recognized disintegrates into something unthinkable. A population that once shared a common reality through the Evening Verity now lives in fractured, dopamine-soaked silos dominated by tribal influencers. The country divides into two warring classes: the educated Burghers in the cities and their resentful counterparts, the Yeomen in the hinterlands.

    In the opening chapter, this polarization erupts into “street fighting,” looting, the disappearance of law enforcement, and the flight of the ruling elite from the capital. Dr. Rustin delivers this bleak news to his family over dinner. His daughter Selva’s first concern is whether the unrest will interrupt her academic trajectory. She has worked relentlessly to climb to the top of her class, and the thought of a civil conflict jeopardizing her college prospects strikes her as the height of unfairness. In a single scene, Packer exposes the insularity of the laptop class—how they can read about national collapse yet continue to focus unblinkingly on résumé-building.

    Rustin shares his daughter’s blind spot. He believes his rationality and status shield him from whatever chaos brews outside their comfortable home, so he heads to the Imperial College Hospital as if nothing has changed. But when he arrives, he finds a skeleton staff, no leadership, and a pack of teenage looters closing in on the building, shouting about reclaiming a city stolen from them by Burghers. Their anger echoes the real-world contempt for Boomers—our generation’s hoarding of wealth, property, and opportunity, and the young’s belief that the American Dream was stolen and the ladder kicked away. The looters are led by Iver, a young man who once sat beside Selva in school. Rustin learns Iver is desperate to get medicine for his mother, who can no longer access care in the collapsing system. The gang consists of young men who failed in school and have no future—Hoffer’s True Believers in the flesh, clinging to nihilism because it’s the only story left to them.

    Their attempted looting is half-hearted; they’re too exhausted to fully ransack the hospital. Rustin placates them by promising free medical care for Iver’s mother. The moment marks a turning point for him. He once believed Burghers and Yeomen could coexist if they simply treated each other with decency, a kind of soft humanism. But Chapter One hints that civility may be dead—that the Burghers have grown complacent, valuing comfort more than democracy, drifting toward Nietzsche’s Last Man: a class so lulled by ease that it failed to maintain the institutions holding the nation together.

    It’s a bruising first chapter. As Andrew Sullivan noted, the novel “hits too close to home.” The subject matter is painful, but its resonance is undeniable. Though I haven’t been a diligent novel reader for over a decade, this one has enough voltage to keep me turning pages.