Category: philosophy

  • The Professor and the Nihilist

    The Professor and the Nihilist

    I had been teaching Man’s Search for Meaning for more than twenty years, and over time I became increasingly haunted by a contradiction I could no longer ignore.

    As an intellectual exercise, teaching Frankl came easily to me. In the classroom, I could lecture confidently about suffering, moral courage, existential responsibility, and the human capacity to create meaning under catastrophic conditions. I knew the book so thoroughly that the lessons practically assembled themselves. I could guide students through Frankl’s arguments with the polished assurance of a veteran preacher delivering a favorite sermon.

    But outside the classroom, matters became considerably murkier.

    The older I grew, the more I suspected I lacked the moral authority to teach the book at all.

    Frankl’s memoir is not merely literature. It is a rebuke. It quietly interrogates the reader’s vanity, self-pity, cowardice, and spiritual laziness. The book demands that human beings rise above grievance and become worthy of their suffering. And whenever I compared Frankl’s moral heroism to my own personality defects—my vanity, self-absorption, resentment, melodrama, and appetite for comfort—I found myself thinking:

    Talk is cheap.

    Very cheap.

    It is easy to discuss transcendence while standing safely before a whiteboard in air-conditioned suburban America. It is another matter entirely to embody the principles one teaches.

    Yet despite my growing sense of fraudulence, I remained deeply invested in the book. I enjoyed the subtle glow that came from being perceived as a devoted disciple of Viktor Frankl. Teaching the text allowed me to borrow, however temporarily, some reflected aura of moral seriousness.

    Then came Conner Patrick.

    And the entire arrangement began to collapse.

    What made Conner’s disdain for Man’s Search for Meaning so devastating was that in nearly thirty years of teaching, he was by far the finest writer I had ever encountered.

    Not the most promising.
    Not the most talented “for his age.”

    The best.

    He was only eighteen years old, an English major with no discernible career ambitions, yet his prose possessed an effortless authority that made nearly every other student writer seem linguistically undernourished by comparison.

    Most young writers who wish to appear intelligent assault the reader with thesaurus vocabulary and bloated academic jargon. Conner did the opposite. His writing flowed with such ease and precision that reading his essays felt like watching someone stroll through a vast orchard of Language Trees casually plucking the exact perfect word at precisely the right moment.

    No strain.
    No showing off.
    No sweat visible on the machinery.

    The words simply arrived naturally in his hands.

    His prose was vastly superior to mine, and I knew it.

    At one point I told him:

    “I’ve got a V-6 engine under my hood. Reliable enough. But you—you’ve got a V-12. I can’t compete with that.”

    I also confessed I would be genuinely shocked if he did not eventually become a published writer.

    Conner himself looked less like an aspiring literary prodigy than a mountain man accidentally stranded on a community-college campus. He stood about six-foot-four and weighed well over 280 pounds. He wore faded jeans, hiking boots, and flannel shirts that made him appear permanently prepared either to split firewood or disappear into the Pacific Northwest wilderness for several years.

    A scraggly beard partially concealed the freckles on his cherubic cheeks, while a wool herringbone golfer’s cap sat low over his curly reddish-brown hair. Most days he carried a guitar into class as though wandering accidentally between folk concert and existential crisis.

    Socially, he was pleasant enough. He chatted easily with classmates and generally projected the relaxed friendliness of a gifted person not yet fully aware of the intimidation he inspired.

    But every so often I would catch his blue eyes narrowing slightly while observing other people, and in those moments I glimpsed something colder beneath the surface—an exhaustion with humanity itself, a private contempt that flickered across his face before disappearing again.

    It was the look of someone already disappointed by the species at eighteen.

    Conner would often linger after class long after the other students had drifted out into the hallway, and we would sit talking about his essays, literature, or his older sister Jennifer, who had taken my class the previous year and apparently decided I was competent enough to recommend to her younger brother.

    One of Conner’s essays featured a bald high-school football coach drinking with old friends inside a bar, and it became immediately obvious to me that the character was a lightly fictionalized version of my younger self. Conner had scavenged fragments from personal anecdotes I had casually shared in class and stitched them together into a kind of alternate-universe doppelgänger—one far more reckless, abrasive, and dangerous than I had ever possessed the courage to become.

    The other students loved the essay.

    I did too, though reading it gave me the uncanny sensation of watching someone steal my reflection and improve upon it.

    The important thing was this: Conner knew I respected his intelligence, and because of that respect he felt completely comfortable mocking me.

    More significantly, he felt comfortable disagreeing with me.

    This became painfully evident shortly after my first lecture on Man’s Search for Meaning, during which I explained the semester’s final capstone essay assignment. Students would argue either that Viktor Frankl made a convincing case for meaning as the antidote to existential despair, or that his argument ultimately failed to persuade them.

    After class, Conner remained seated at his desk while the others filed out.

    Then he looked at me and said:

    “You don’t really believe in this shit, do you?”

    The bluntness of the question startled me.

    “What?” I replied stupidly.

    He sighed impatiently, as though disappointed I was forcing him to state the obvious.

    “Come on, man. You know you don’t believe in this shit.”

    What unnerved me most was that part of me immediately recognized he might be right.

    Still, out of instinctive self-defense, I answered:

    “Well actually, I tend to be more agnostic when it comes to the subject of meaning.”

    “Seriously?”

    He was flipping through Frankl’s book in his enormous hands while staring at the pages with open contempt.

    “Take away the impressive Holocaust narrative and what are you left with?” he said. “Just a bunch of homilies about positive thinking. It’s basically Chicken Soup for the Soul for intellectuals.”

    Ordinarily, disagreement never bothered me. I encouraged students to challenge texts. But Conner’s criticism struck differently because he was not merely attacking Frankl.

    He was questioning my judgment.

    According to Conner, I had assigned sentimental tripe disguised as philosophy. Worse, I had emotionally manipulated students into treating cliché as wisdom because I personally needed the book to be true.

    I suddenly felt defensive in a way I hated.

    “I’m not going to lie to you, Conner,” I admitted. “When I first read Frankl at eighteen, the section where he’s marching with the prisoners at dawn and thinking about the spirit of his wife—I cried for like five hours.”

    Conner winced sympathetically, though not respectfully.

    “I’m glad you got something out of it,” he said. “And Frankl seems like a great guy. But all this stuff about meaning is bullshit. You know as well as I do there is no meaning.”

    “Is that what I’m supposed to tell my daughters?”

    “You can tell them the truth or you can tell them lies. It’s your choice.”

    “I want my daughters to grow up, get educated, fall in love, build meaningful lives. That gives me meaning. Does that make me stupid?”

    “You’re confusing meaning with survival,” he replied instantly. “Your love for your daughters is biological. Instinctive. I understand that. But that’s not meaning in the grand Frankl sense.”

    “So Frankl’s delusional?”

    “Of course he’s delusional,” Conner said calmly. “That doesn’t mean I don’t sympathize with him. Look, the guy went through unimaginable horror. He had to convince himself the suffering meant something or he would’ve psychologically collapsed. Most people do that. Meaning is basically an emotional survival mechanism people invent so they don’t lose their minds.”

    But it wasn’t merely his argument that destabilized me.

    It was the way he looked at me while making it.

    Conner spoke as though he regarded us as secret ideological allies—as if beneath my classroom performance, my lectures, my carefully curated professor persona, there existed another version of me fully aware that life was fundamentally meaningless.

    And the horrifying thing was that part of me felt seen.

    As instructors, especially after decades in the classroom, we like to imagine ourselves as stable intellectual authorities. We tell ourselves we are people of conviction who can withstand disagreement without wavering.

    Usually I could.

    But in Conner’s presence, I often felt like a man trying to lecture confidently while standing atop loose sand during an earthquake.

    Then he leaned back in his chair and delivered the coup de grâce.

    “Why are you teaching this crap?” he asked. “Does it make you feel better stuffing meaning down your students’ throats? Are you having some kind of midlife crisis and trying to lecture yourself out of despair?”

    “This is a critical thinking class,” I protested weakly. “I want students thinking for themselves.”

    “But you’re a hypocrite,” he replied immediately. “You tell us to think critically and detach emotionally from arguments. But you can’t do that with Frankl because you worship him. You’re emotionally compromised.”

    Then he held up the book dismissively.

    “Take away your admiration for his heroism and your sentimental memory of crying over his wife, and what do you have left? A bunch of clichés about finding meaning. And you know as well as I do that suffering doesn’t mean anything. Most of life is random pain that people desperately try to decorate with philosophy afterward.”

    Then, as if determined to drive the knife deeper, Conner began explaining why he found Frankl’s philosophy emotionally manipulative and intellectually fraudulent.

    His mother, he said, was deeply religious and believed God had called her to become a foster parent for infants damaged by drugs and alcohol.

    “Ever since I was a little kid,” he told me, “there have been crack babies in my house.”

    He said the phrase without sentimentality or self-pity. Just exhaustion.

    “They don’t recover,” he continued. “They’re permanently damaged. Some of them sleep all night with their eyes open. Some make these awful squawking noises like prehistoric birds. A lot of them can barely function. It’s a nightmare.”

    Then his tone hardened.

    “And what has my mother gained from this so-called higher purpose? Jennifer and I basically lost our childhoods. My mom neglected us because she was so obsessed with saving these babies for God. Half the time she expected us to help raise them.”

    He leaned back in his chair and laughed bitterly.

    “That’s what meaning looks like in real life. Endless stress, resentment, dysfunction, and guilt wrapped in religious self-congratulation.”

    According to Conner, his mother’s “calling” was either pathological altruism, spiritual narcissism, or some toxic combination of both.

    “Honestly,” he said, “Frankl shouldn’t be proud of this kind of shit. I grew up surrounded by people justifying misery in the name of meaning.”

    As had become the custom lately, the class ended on Conner’s terms, not mine. His words hung in the room long after the students gathered their backpacks and shuffled toward the door. I stood there disarmed, mute, and inwardly collapsing beneath the awful suspicion that he had exposed me for what I truly was: a middle-aged professor borrowing moral authority from books whose standards he himself could not meet. I felt less like a teacher than a theological used-car salesman trying to unload existential optimism with bald tires and a cracked transmission.

    I drove home that evening emotionally flattened.

    What disturbed me most was not merely Conner’s argument but my inability to answer it convincingly.

    For days afterward, I replayed our exchanges obsessively in my head the way a defeated boxer rewatches footage of a championship loss searching for the precise moment his legs gave out beneath him. Somewhere, I kept telling myself, there had to exist a devastating rebuttal capable of puncturing Conner’s nihilism once and for all. Surely Frankl’s philosophy could not be dismantled so easily by an eighteen-year-old English major dressed like a depressed lumberjack.

    By the next class meeting, however, I had concluded that the only intellectually honest response was to drag Conner’s objections directly into the open and let the entire class watch the philosophical knife fight unfold publicly.

    I asked his permission beforehand.

    He approved immediately and with almost indecent enthusiasm.

    The little bastard was delighted by the prospect of becoming the classroom heretic.

    So during the following lecture I summarized his objections for everyone.

    “Conner wants us,” I began carefully, “to temporarily set aside Frankl’s heroism and focus strictly on the argument itself. He makes two claims. First, much suffering appears entirely senseless. Second, what people call meaning may simply be a coping mechanism human beings invent to survive psychologically.”

    I paused and glanced toward Conner.

    He sat in the back row smiling broadly with the self-satisfaction of an arsonist admiring his own fire.

    “Now let’s concede something important right away,” I continued. “Massive amounts of suffering do appear meaningless. Consider something like the Indian Ocean tsunami. Hundreds of thousands dead. Entire families erased in minutes. There is no obvious moral lesson embedded in catastrophe on that scale.”

    The room remained quiet.

    “But,” I continued, “perhaps meaning exists on a spectrum. Perhaps human beings occupy what we might call a Meaning Scale.”

    The students leaned forward.

    “At one end,” I explained, “there is spiritual decrepitude. Imagine a severe addict whose entire existence collapses into appetite and self-destruction. He burns bridges with friends and family. He isolates himself. He loses all connection to higher aspirations. His life contracts inward toward emptiness.”

    The students nodded.

    “At the other end,” I continued, “are people who devote themselves to craft, service, discipline, love, or meaningful work. Through sacrifice and commitment they cultivate a higher version of themselves. That movement toward flourishing—that movement toward transcendence—is what I would call meaning.”

    Then I made the tactical error of looking directly at Conner.

    His lips curled upward immediately.

    “It’s great when people flourish,” he said, “but don’t confuse flourishing with meaning.”

    He folded his enormous arms across his chest like a Viking philosopher preparing to sack a monastery.

    “I know a sixteen-year-old evangelist who’s amazing at converting people to his faith. He’s disciplined, charismatic, passionate—everything you’re describing.”

    Then Conner paused theatrically.

    “But his older brother used to be an evangelist too. Now he tours around giving lectures about why religion is nonsense. He helps believers become atheists. He’s flourishing too. They can’t both possess some objective thing called meaning.”

    He shrugged.

    “They’re just pursuing narratives that energize them emotionally.”

    Then came the kill shot.

    “Meaning isn’t objective reality,” he said. “It’s emotional fuel. Complete bullshit.”

    The room fell silent.

    But Conner was only warming up.

    “There’s another problem with your argument,” he continued. “You’re committing the exact kind of either-or fallacy you’ve warned us about all semester.”

    Now he was openly enjoying himself.

    “You’ve created this cartoon universe where people are either spiritually disintegrating addicts or enlightened flourishing saints. But real people are contradictory. Plenty of great writers produced brilliant art while simultaneously destroying themselves with alcoholism. Human beings can flourish and decay at the same time.”

    Then he lowered his voice slightly.

    “You already know this. You’re just too emotionally attached to Frankl to admit it.”

    That sentence struck me with horrifying accuracy because part of me feared he was right.

    Then Conner leaned forward and delivered the existential haymaker.

    “Who wants to believe we’ve been dumped into a meaningless universe?” he asked quietly. “Who wants to admit we’re basically distracting ourselves with careers, hobbies, entertainment, and relationships until we die?”

    Again I felt that awful sensation of standing on shifting sand.

    I could feel myself sliding toward his worldview against my will.

    Panicking internally, I reached desperately for one of my emergency pedagogical flotation devices: Willy Wonka & the Chocolate Factory.

    In a DVD interview, Gene Wilder had explained that the movie was fundamentally about boundaries and self-restraint, so I lunged at this idea like a drowning man grabbing driftwood.

    “Boundaries give us meaning,” I blurted out. “Boundaries teach discipline. They protect us from excess and chaos. Children raised with healthy boundaries are happier than children without them. Boundaries point us toward meaning.”

    Conner shook his head slowly.

    “Boundaries matter,” he conceded. “But they’re survival mechanisms. Not meaning.”

    Still flailing for life support, I snapped: “Take away meaning and what’s left? A nihilistic free-for-all? A Darwinian nightmare where the strong brutalize the weak?”

    Conner smiled lazily.

    “Relax, McMahon. Civilization isn’t going to collapse because people stop reading Viktor Frankl. We cooperate because cooperation benefits survival. Morality is adaptive behavior. That still isn’t meaning.”

    “So we’re just products of evolution?”

    “Pretty much. Can’t handle it?”

    “If what you’re saying is true,” I said, “most people would collapse into despair.”

    “Not at all,” he replied calmly. “Most people are perfectly happy believing comforting delusions. Religion. Cosmic purpose. Destiny. Frankl just packages existential anesthesia for intellectuals.”

    Then he grinned.

    “If grown adults want to believe in Santa Claus forever, more power to them.”

    At this point I decided to change strategy.

    “Can I ask you something personal, Mr. Patrick?”

    “Go for it.”

    “Why are you even in college?”

    He shrugged.

    “Something to do.”

    “You have no plan?”

    “Not really.”

    “Wouldn’t having a plan be better than not having one?”

    “Not necessarily,” he replied instantly. “I know plenty of students who followed ‘the plan’ only to realize they hate their major and hate their future. A lot of plans are disasters. Sometimes not having a plan is healthier.”

    At that moment the discussion no longer resembled a classroom debate. It felt like an arm-wrestling contest between a steroid-bloated carnival strongman and a tuberculosis patient fresh from convalescence. Conner’s arguments kept slamming my hand closer and closer toward the table while I strained uselessly beneath the fluorescent lights pretending I still had a fighting chance.

    I instinctively touched the front of my damp shirt expecting blood.

    It was only sweat.

    “But goals matter,” I insisted weakly. “Goals help us live more fully. As Nietzsche says—and Frankl quotes him constantly—‘He who has a Why to live for can bear almost any How.’”

    Conner smirked.

    “Yes, but the Why may itself be delusional. Fascists have Whys. Cult leaders have Whys. Having motivation doesn’t magically create objective meaning.”

    Then he delivered the final insult with almost affectionate cruelty.

    “Honestly, McMahon, you assigned us a book full of platitudes and clichés. Your brain’s gone soft in your old age, bro. You may want to start looking at retirement.”

    By now I could sense the emotional tide of the classroom shifting toward him. Students were smiling at Conner with the admiration usually reserved for charismatic revolutionaries moments before mutiny.

    Conner sensed it too.

    Then, astonishingly, he stood up and addressed the class.

    “Okay, everybody,” he announced. “Show’s over. McMahon and I planned this whole thing beforehand. Rehearsed script. We wanted to demonstrate Socratic dialogue.”

    The students erupted.

    Several called it one of the greatest classes they had ever witnessed. One student said he regretted not recording the exchange and uploading it to YouTube. Another compared us to one of those buddy-comedy duos where two men spend the entire film insulting each other but secretly cannot function apart.

    The giant wall clock showed that the class was over.

    Students slowly shuffled out of the classroom buzzing with excitement.

    Conner remained seated.

    “What the hell was that?” I demanded once we were alone. “You were tearing me apart argument by argument. Then suddenly you rescue me?”

    He shrugged casually.

    “Well, first of all, I like you.”

    “What the hell do you do to professors you don’t like?”

    He laughed. Then he said, “To your credit, you tried to do something ambitious and failed. But at least you tried. Most professors just hide behind the same fossilized lecture notes for thirty years. You fought me. That takes guts. No one beats me in an argument–ever. You’ve got balls, McMahon.”

    “So you spared me because I’ve got balls?”

    “That’s part of it,” he admitted. “But also, I didn’t know anything before I took your class. You taught me some new ways to think critically. I wasn’t going to use the weapons you gave me to publicly humiliate you.”

    Then he smiled.

    “I don’t like many people, but I like you.”

    I shook my head.

    “Thirty years teaching, and I’ve never lost an argument like that. You handed me my bloody head on a stake.”

    “Which means,” he replied triumphantly, “it’s finally time for you to admit I’m right and Frankl’s wrong.”

    “I can’t do that.”

    “Come on, man. I saved you.”

    “You make compelling points,” I admitted. “But I still have some stubborn kernel of faith that meaning exists. If I denied that completely, I’d be lying.”

    Conner nodded thoughtfully.

    “Fair enough,” he said. “But next time, watch yourself in class.”

    Then he grinned.

    “Because next time I’m still going to kick your ass.”

  • The Heartbreak of Micky Dolenz

    The Heartbreak of Micky Dolenz

    My parents liked to remind me that before IBM rescued my father with a job offer and transplanted us from Florida to California, we were so poor they sold blood to hospitals to help feed me. This family anecdote was repeated with the solemn gravity of frontier folklore, as though I had survived the Donner Party rather than early childhood. We lived in military housing in Gainesville called Flavet Villages, a collection of dreary barracks-style tenements that seemed permanently damp, exhausted, and spiritually defeated. Cockroaches crawled openly along the walls beside my crib as though they too paid rent and felt entitled to common areas.

    Nearby sat an alligator swamp whose odor drifted across the housing complex with biblical hostility. Around dawn and twilight especially, the air became thick with a feculent stench that smelled like Satan’s compost bin after a seafood boil. The swamp seemed less a natural ecosystem than a punishment assigned to the poor. Everything about Flavet Villages communicated scarcity, mildew, resignation, and the understanding that comfort belonged to other people living elsewhere.

    Then came the phone call from IBM.

    Just like that, our trajectory changed. My father packed us into a late-1950s Mercury and drove westward toward what had not yet become Silicon Valley but was already beginning to hum with technological ambition and California mythology. We rolled down Highway 101, exited at Tully Road in San Jose, and arrived at what, to our eyes, looked less like an apartment complex than a tropical resurrection.

    The Royal Lanai apartments embodied that distinctly mid-century California fantasy in which ordinary suburban housing attempted to impersonate a Polynesian resort through sheer landscaping optimism. The place radiated the confidence of an era convinced that lava rock, palm trees, and decorative stonework could transport middle-class renters into an exotic island paradise situated conveniently between a supermarket and a freeway exit.

    Dark volcanic rocks framed the walkways. Palmettos and fan palms swayed above flowerbeds bursting with oversized sunflowers and dense tropical greenery. The buildings themselves were decorated with rough lava stone and jagged field rock embedded into the stucco, as though cooled magma had erupted directly into suburban San Jose. Sprinklers hissed across the landscaping in the evening light while the California sun reflected warmly against the black volcanic stone.

    Compared to Flavet Villages, the Royal Lanai felt impossibly glamorous.

    We had crossed from swamp funk to Polynesian fantasy.

    From cockroaches to lava rock.

    From survival to aspiration.

    And though we were still renters living in an apartment complex beside a busy road, to my parents it must have felt as though IBM had not merely offered employment but delivered us personally into the American Dream wearing a short-sleeve dress shirt and carrying a briefcase.

    The monthly pilgrimage to the manager’s office to pay the rent filled my mother with a kind of triumphant delight. She treated the occasion less like a financial obligation and more like admission into respectable civilization. Before leaving the apartment, she would proudly hold up the giant green circular keychain embossed with our apartment number, the metal house key dangling from it like a sacred relic proving we belonged at the Royal Lanai. Then she would invite me to accompany her on the journey as though we were visiting royalty rather than paying one hundred dollars for another month of tenancy.

    The rent itself seemed magical in its perfect roundness: exactly one hundred dollars. Not ninety-eight. Not one hundred and seven. One hundred dollars precisely, as if the evenness of the number confirmed the elegance of our new life beneath the palms and lava rock.

    At five years old, I found these expeditions endlessly fascinating because nearly everything at the Royal Lanai felt luxurious compared to the swampy deprivation stories my parents told about Florida. The manager’s office in particular possessed the aura of a tiny tropical embassy of abundance. Behind the desk sat Betty, the matronly apartment manager, smiling with the patient warmth of a woman who had seen thousands of tenants pass through her domain and knew exactly how much the place meant to young families trying to ascend into middle-class respectability.

    Inside the office stood a humming water cooler beside neat stacks of tiny paper cups that I treated with almost ceremonial reverence. Nearby sat a glass jar overflowing with sugar cubes, and Betty always assured me they were mine for the taking. This struck me as extraordinary generosity. To a small child raised on stories of blood-selling poverty and cockroach-infested tenements, unlimited cold water and unrestricted access to sugar felt like evidence that we had entered a realm of unimaginable prosperity.

    The Royal Lanai seemed less like an apartment complex than a perpetual vacation for ordinary people. Everything shimmered with promise: the tropical landscaping, the black lava rocks warming beneath the California sun, the palms rustling overhead, the miraculous availability of chilled water and refined sugar whenever my childish whims demanded them. In my mind, paradise was not complicated. Paradise was a paper cup of cold water, two stolen sugar cubes melting on your tongue, and a giant green keychain proving your family had finally escaped the swamp.

    The monthly rent at the Royal Lanai took my parents a while to psychologically absorb. One hundred dollars a month may sound quaint now, but to them it carried the emotional weight of financing Versailles. To diffuse their anxiety, they invented an elaborate family joke that my mother might soon have to supplement my father’s IBM salary by returning to her former career as a flaming sword swallower in the circus.

    According to the mythology they constructed for my benefit, my mother had toured the circus circuit in Alaska before meeting my father. She was apparently a celebrated performer capable of swallowing blazing sabers while balancing on elephants or dangling from trapezes over crowds of drunken laborers eating salted peanuts. To authenticate the story, my parents explained that my mother remained close friends with the circus CEO herself, a powerful woman named Mrs. Dimes, who spent her days inside a cramped trailer-office counting ticket sales with ruthless concentration.

    “Do you want to hear Mrs. Dimes counting the tickets?” they would ask me with theatrical seriousness.

    Then they would direct me toward our heavy avocado-green rotary telephone and instruct me to dial P-O-P-C-O-R-N.

    What I did not understand, of course, was that this connected me to Northern California’s famous “Popcorn Lady,” the automated time service whose calm robotic voice announced the time every ten seconds. My parents convinced me this was Mrs. Dimes tallying circus receipts somewhere deep inside carnival headquarters while deciding whether my mother needed to return to sword swallowing in order to save the family finances.

    For a while I found the whole thing mesmerizing.

    I imagined Mrs. Dimes sitting beneath a dangling light bulb in a smoky trailer counting endless piles of tickets while tigers roared outside and exhausted clowns smoked cigarettes beside cages. The fact that my mother possessed a direct line to the upper management of the circus filled me with awe. It made adulthood seem precarious and theatrical at the same time, as though our entire middle-class existence hung by a thread and one poorly considered supermarket purchase could force my mother to pack her bags and rejoin the carnival economy.

    At first, the game amused me.

    Then one evening, something shifted.

    Perhaps I had become old enough to detect the real anxiety lurking beneath the comedy. Perhaps the repeated references to money finally penetrated my five-year-old understanding. Whatever the reason, the thought of my mother leaving us to join the circus suddenly struck me as horrifyingly plausible.

    I began sobbing uncontrollably.

    The image of her disappearing into some distant caravan of sword swallowers, ticket counters, and exhausted acrobats overwhelmed me completely. My parents immediately abandoned the Mrs. Dimes routine and never played the game again.

    But by then the damage had been done.

    Even at five years old, I had absorbed the terrible adult knowledge that paradise could be lost, that money was fragile, and that somewhere beyond the lava rocks and palm trees of the Royal Lanai lurked the possibility that your mother might have to run away and join the circus to pay the rent.

    It was then that I resolved to prepare myself for the inevitable by joining the circus alongside my mother. If financial catastrophe struck and Mrs. Dimes summoned her back beneath the big top, I would not remain behind abandoned at the Royal Lanai like some emotionally shattered civilian. No. I would reinvent myself as the Strongman: a towering muscular brute in leopard tights capable of snapping chains across his chest, bending steel bars, and hoisting wild animals above his head while astonished crowds applauded beneath clouds of cigarette smoke and popcorn dust.

    My spiritual mentors were not priests or philosophers but superhero comics. The Incredible Hulk, Thor, and Prince Namor became my prophets of muscular transcendence. Their impossible physiques convinced me that strength was not merely aesthetic but salvific. Muscles could rescue families. Biceps could repel humiliation. Triceps might even keep your mother from disappearing into itinerant circus labor.

    I therefore began training with whatever equipment the apartment provided. My parents’ heavy lacquered ceramic ashtrays became dumbbells. Luggage became resistance equipment. Every object in the apartment was reinterpreted through the feverish logic of childhood bodybuilding ambition. Somewhere between the lava rocks and the sunflower gardens of the Royal Lanai, I became convinced that physical strength was the answer to economic instability, emotional terror, and perhaps existence itself.

    Then came the Charles Atlas ads.

    Those advertisements struck me with the force of religious revelation. There was always the same tragic spectacle: a scrawny weakling being publicly humiliated at the beach while some square-jawed bully kicked sand in his face and stole his girlfriend with the efficiency of a hostile corporate takeover. But then the runt discovered the Charles Atlas system, trained with evangelical discipline, and returned transformed into a muscular avenger. The bully was defeated. The girl was reclaimed. Cosmic balance was restored. Civilization itself seemed to exhale in relief.

    The moral architecture of the universe suddenly became clear to me:
    Train hard. Build yourself. Never surrender. Muscles are destiny.

    This, I believed, was the true American Dream—not suburban comfort or upward mobility, but the ability to transform fear and humiliation into brute force through relentless self-improvement.

    If things became desperate enough, I could save my family.

    I could become the Strongman.

    My mother and I would travel the circus together, inseparable beneath the glow of carnival lights. We would swallow flames, bend steel, astonish crowds, and most importantly, pay the one-hundred-dollar rent on time. We would not be poor swamp people from Florida anymore. We would be winners.

    Thanks to an early literary diet of children’s books, superhero comics, and Charles Atlas advertisements, I grew up convinced that sheer grit and industriousness could conquer virtually anything. My optimism floated through childhood with absurd buoyancy, like a kite somehow suspended in a windless sky by pure American self-help mythology. I had absorbed the sugary gospel of Captain Kangaroo and internalized the moral propaganda of The Little Engine That Could with cult-like devotion. “I think I can” was not merely a line from a children’s story. It was my private war cry. Positive thinking plus relentless effort was supposed to produce triumph, prosperity, admiration, and perhaps eventually heroic forearms.

    Or so I believed.

    Then came October 16, 1967—twelve days before my sixth birthday—the evening my worldview suffered catastrophic structural failure while watching my beloved The Monkees. The episode was titled “I Was a 99-lb. Weakling,” and it detonated inside my young psyche like a philosophical pipe bomb. Until then, I had believed life operated according to comic-book justice: work hard, improve yourself, defeat the bully, reclaim the girl, restore cosmic order. But this episode introduced me to a far darker force, one nobody had warned me about because I was still too young to grasp the terminology.

    Irony.

    Not ordinary disappointment. Not bad luck. Irony—the grinning sadist of human existence that waits until you have exhausted yourself climbing the mountain before informing you the mountain has moved.

    The episode features my slender, goofy hero Micky Dolenz being publicly humiliated by Bulk, a grotesquely muscular beach tyrant played by none other than Dave Draper, a man built less like a human being than a refrigerated side of beef. Bulk steals Brenda, the bikini-clad beach goddess, directly from Micky’s orbit while radiating the effortless confidence of a man whose chest measurements could destabilize nearby weather systems.

    Desperate to reclaim his dignity, Micky joins Weaklings Anonymous and submits himself to a punishing training regimen worthy of Cold War experimentation. He lifts weights the size of Buicks. He gulps down fermented goat milk curd, a substance that appeared to possess the texture and emotional flavor profile of liquefied despair. Worst of all, he sells his drum set to finance his transformation, placing the future of the Monkees themselves in jeopardy. Everything is sacrificed on the altar of self-improvement.

    And why?

    Because the Charles Atlas narrative promised salvation.

    Suffer now. Train hard. Become magnificent later.

    Micky returns to the beach transformed into a muscular Adonis, his arms swollen, his confidence restored, fully prepared to reclaim Brenda and reestablish moral equilibrium in the universe.

    But then Irony arrives carrying a baseball bat.

    During Micky’s transformation into Hercules, Brenda has grown bored with physical brutes. Muscles are now gauche. Predictable. Vulgar. She has pivoted dramatically toward intellectualism and now desires a frail, pencil-necked pseudo-scholar whose chief accomplishment appears to be reading In Search of Lost Time at the beach while ignoring sunlight and human joy. The new object of her affection sits there clutching Proust with all the erotic magnetism of a graduate seminar on French memory theory.

    Apparently, somewhere between Micky’s bench presses and fermented goat secretions, the cultural winds had shifted.

    Bodybuilders were out.

    Pretentious literary anemia was in.

    As I watched Micky’s heartbreak unfold onscreen, my own little heart cracked alongside his. Every lesson I had absorbed about hard work, perseverance, and self-discipline suddenly felt suspect. The universe, I realized, did not necessarily reward effort. You could labor heroically, endure humiliation, drink industrial quantities of goat sludge, and still discover that reality had changed the rules while you were busy training.

    The revelation devastated me.

    It was like discovering that Santa Claus was not merely fictional but actively mocking you from behind the curtains of existence.

    After that episode, childhood optimism no longer felt trustworthy. The clean moral geometry of comic books dissolved. From then on, I wandered through life carrying the vague existential sadness of a tiny philosopher betrayed by television comedy. Somewhere deep inside me, Micky Dolenz was still standing on that beach holding his rebuilt muscles while Brenda walked away with a man reading Proust.

  • From Coffeehouse to Clickbait

    From Coffeehouse to Clickbait

    Invoking the word democracy in an essay feels like trying to sell a ghost–intangible, shapeless, and increasingly irrelevant to an audience fixated on the price of eggs and the cost of gasoline. We live in a state of Democratic Abstraction Fatigue, where civic ideals have been repeated so often and defined so poorly that they’ve lost all emotional voltage. Democracy has become a word people nod at politely while checking their grocery receipts.

    Salience is the problem. Democracy competes poorly in a culture that values immediacy over abstraction, sensation over structure. A fluctuating gas price commands attention because it hurts now. Democracy, by contrast, whispers about norms, institutions, and procedures–important, yes, but bloodless in the moment. When everything urgent is concrete and everything essential is abstract, the essential loses.

    We can attempt a definition to anchor the word: a democracy is a system of fair elections, peaceful transfers of power, and a citizenry capable of resisting manipulation by charlatans, influencers, and political opportunists whose incompetence would, in a sane society, disqualify them on sight. But even this definition now feels aspirational, almost quaint.

    Because the truth is harder: those guardrails are eroding. Adam Kirsch, in “The Era of Rational Discourse Is Over,” reminds us that American wars have often been sold under false pretenses–the Spaniards sank the USS Maine, Iraq hoarded weapons of mass destruction. But what distinguishes the present is not deception; it is indifference. The machinery no longer bothers to persuade. There is no narrative to construct, no public to convince, no Congress to consult. The decision is the justification. We have entered a phase of Executive Drift, where power operates with minimal friction and even less explanation.

    How did we arrive here? Kirsch turns to Jürgen Habermas, who witnessed the collapse of Nazism and the fragile rebirth of democratic life in Germany. For Habermas, democracy depended on what he called “communicative action”–a culture of dialogue where ideas are tested, challenged, refined, and, occasionally, improved. Democracy was not just a system of voting; it was a system of thinking.

    That system now shows signs of collapse. We inhabit an era of Communicative Decay, where discourse has splintered into tribal fragments, each sealed off from contradiction, each sustained by outrage. Argument has been replaced by performance. Listening has been replaced by waiting for your turn to strike.

    In The Structural Transformation of the Public Sphere, Habermas imagined democracy as an expanded coffeehouse—a literate, engaged public exchanging ideas with rigor and civility. It was a world in which communication flowed in two directions: we spoke, and we listened. Today, we scroll. We absorb. We react. But we do not engage.

    The modern condition might be better described as a dopamine democracy, where public opinion is shaped not by deliberation but by stimulation. Algorithms reward the loudest, the angriest, the most unhinged voices. Complexity is punished. Nuance is buried. What rises instead is spectacle–content engineered to trigger, not to inform.

    The consequences are predictable. Citizens become passive, then inert. Critical thinking atrophies. Conspiracy theories flourish in the vacuum. Truth becomes negotiable, then irrelevant. We do not fall from democracy in a single dramatic collapse; we degrade into a version of ourselves that no longer demands it.

    Mass media and weaponized misinformation accelerate the decline. Lies are no longer liabilities; they are tools. Identity replaces evidence. Tribe replaces truth. You are not expected to think–you are expected to align.

    And so we arrive at the most unsettling feature of our moment: the people who ascend in this environment are not the most disciplined, the most thoughtful, or the most competent, but the most performative, the most shameless, the most willing to exploit the system’s weaknesses. Infantilism becomes a strategy. Narcissism becomes an asset.

    A culture that rewards such traits should provoke alarm. It should trigger a course correction. But instead, we drift–distracted, entertained, anesthetized.

    Democracy has not been overthrown.

    It has been neglected.

    And like anything neglected long enough, it begins to disappear–quietly, gradually, while most of us are still asleep.

  • The Frogman and the Music of Atlantis

    The Frogman and the Music of Atlantis

    My junior year of high school was my “Deacon Blues” year. I wore it like a religious creed. The song played, and I nodded along as if I’d been admitted to some nocturnal order of the misunderstood. Only decades later did I realize the joke was on me. The narrator isn’t a tragic hero; he’s a suburban man with a good stereo and a better imagination, building a flattering alternate reality to anesthetize his boredom. What I mistook for transcendence was mood lighting. I wasn’t ascending; I was dimming the room.

    Satire thrives on mockery because it exposes the soft spots we’d rather not touch. But self-mockery can metastasize. It can turn your life into a punchline so comprehensive that nothing is left standing—not even the truth that your choices matter. High stakes persist whether you acknowledge them or not. We are, to put it plainly, creatures who want more than a clever story about ourselves. We want something that holds when the music stops.

    For that, I have to go back a year. I was a sophomore who encountered “Zoom,” written by Lionel Richie and Ronald LaPread of The Commodores. The song arrived like a quiet command. You can hear the Gospel in its bones—the upward pull, the refusal to collapse into self. The voice in “Zoom” isn’t asking for a better seat at the table; it’s asking for the table to be remade so everyone can eat. It’s not self-improvement. It’s a prayer for shared elevation.

    I remember where I was when it came on—KSFX, KSOL—the speakers on my Realistic Radio Shack clock radio doing their best, the world suddenly holding its breath. I stopped. Not figuratively. I stopped. The song spoke to my heart: Be better. Not for your reputation, not for your résumé—for people. That’s a different order of demand.

    That same year, “Voyage to Atlantis” by The Isley Brothers performed a similar operation. It promised return—home not as geography but as fidelity, as a place you carry and keep. Between those two songs was a paradox I could feel even if I couldn’t name it: you root yourself in a clean intention, and from that grounding you rise. No theatrics required. No persona. Just alignment.

    Listening to them felt like church without the building. Something gathered. Something clarified. You left with less noise and more direction.

    What is music, after all, if not the part of life that refuses translation and still manages to tell the truth?

    Which brings me to an embarrassment I’ll risk anyway: in watch circles, we talk about a “grail” watch that will “sing” on the wrist. It’s a ridiculous phrase—until it isn’t. Because this hulking slab of resin I’m wearing—the G-Shock Frogman—does something adjacent to that metaphor. It doesn’t produce music. It points to it. It behaves like a reference, a small, stubborn reminder that there is a cleaner version of me available if I’d like to stop auditioning and start choosing.

    The Frogman is not an upgrade. It’s an accusation shaped like a tool. It suggests a man with a steadier pulse, a man less interested in narrating his life and more interested in living it. A man who could hear “Zoom” and “Voyage to Atlantis” and respond the way that sophomore did—by stopping, by listening, by letting the moment ask something of him.

    I don’t need to recover youth. I need to recover that pause—the willingness to be addressed by something better and not immediately turn it into a story about myself.

    The songs didn’t change. I did.

    The question is whether I can change back.

  • The Yahtzee Test of a Meaningful Life

    The Yahtzee Test of a Meaningful Life

    People like to ask, “Does your life have meaning?” as if the answer can be retrieved from a drawer and presented with confidence. Most of us reach for an answer polished and forgettable: family, work, the usual suspects. But these answers have the texture of wallpaper—present everywhere, saying nothing.

    You can refine the answer and still miss the mark. You might say, “Playing the piano gives me more meaning than bingeing on confectionary pleasures online.” True enough. There is a difference between sitting at a piano and sitting in a stupor. One engages discipline, attention, and a relationship with beauty; the other numbs you into a soft, glazed anonymity. But even this comparison mistakes elevation for meaning. Music may lift you above the gutter, but altitude alone is not purpose.

    The real question is not what you do, but who you are while doing it. Do you become the man who scrolls at expensive watch listings while his daughter waits with a box of Yahtzee and you dismiss her because you’re “too busy”? Or do you close the laptop and recognize, in that moment, that time with her is not an interruption but the point? Meaning reveals itself not in our hobbies but in our reflexes.

    This is where Viktor Frankl, the author of Man’s Search for Meaning, enters the conversation with uncomfortable authority. Writing out of the concentration camps, he did not theorize meaning from a leather chair. He embodied it under conditions designed to strip it away. His account carries weight because of his moral posture—his insistence that even in degradation, one could orient oneself toward service, toward others, toward something beyond the self. Meaning, for Frankl, was not a feeling or a hobby. It was an orientation.

    By contrast, selfishness corrodes everything it touches. A man may possess a thriving career and a loving family, but if he approaches both as instruments for his own gratification, he drains them of significance. Push that far enough and you arrive at nihilism—the quiet conviction that nothing matters, not because nothing exists, but because nothing is allowed to matter. Nihilism is not a philosophy so much as a habit of disregard.

    Stories, whether drawn from sacred texts or fairy tales, understand this intuitively. They pit the nihilistic malcontent against the purpose-driven hero. But they do not deliver meaning as a reward, neatly wrapped and handed over. Meaning is not an external prize; it is the byproduct of character—of attention, sacrifice, and the refusal to treat other people as disposable.

    The traditions diverge on how that character is formed. In Judaism, one cultivates it through action, with God’s help, through law and discipline. In Christianity, the diagnosis is harsher: we are too compromised by original sin to generate virtue on our own and must throw ourselves on divine mercy, hoping for transformation. Which account is closer to the truth remains an open question. What is not in doubt is this: meaning is not something you acquire. It is something you become.

  • The Quiet Art of Not Wasting Your Life

    The Quiet Art of Not Wasting Your Life

    If we care about the state of our souls, we have to ask a difficult question: How do we treat time as a sacred, limited gift—something to be used with urgency, yet protected by stillness? In other words, how do we move with purpose without surrendering to the chaos of perpetual hurry?

    My problem—one I can’t dodge—is how easily I waste time while convincing myself I’m doing something worthwhile. I wake up intending to write, but drift into “research”: consumer products I don’t need, fitness principles I already know, or whatever flickers across my screen and triggers FOMO. The drain is subtle but relentless. A morning that should belong to reading and writing dissolves into trivial pursuits. I justify it with a familiar lie: I am a nobody with nothing to say. What difference does it make if I squander a few hours? Why not entertain myself instead?

    These rationalizations amount to treating my life with reckless disregard. They expose something uglier beneath the surface—a low sense of self-worth and a quiet flirtation with nihilism, the belief that nothing really matters.

    Of course, talk is cheap. I can articulate all of this with precision and still change nothing. I tell myself my habits should align with my beliefs, echoing Arthur Brooks from The Meaning of Your Life: Finding Purpose in an Age of Emptiness. But knowledge without discipline is decoration. When I waste time online, it doesn’t just distract me—it diminishes me. It acts like kryptonite. I become a lesser version of myself.

    I know the alternative. When I guard my attention, I compose longer, more ambitious piano pieces. When I don’t, I squeeze creativity into leftover scraps of time and produce reheated versions of my past work—safe, derivative, forgettable.

    It is astonishing how easily we waste time and then defend the waste, even when the defense collapses under minimal scrutiny. I remember falling into this pattern around the year 2000, when the internet first began its quiet takeover. Looking back, I think of Jim Harrison’s line: “It’s so easy to piss away your life on nonsense.” The accuracy is almost cruel.

    This realization struck me again this morning. I had “nothing” to write about, yet decided to open John Mark Comer’s The Ruthless Elimination of Hurry. Within two pages, the emptiness I claimed dissolved into a torrent of thoughts—about chaos, distraction, sacred versus profane time, and the psychology of hurry itself.

    Comer has reason to feel overwhelmed. As a pastor delivering six teachings every Sunday to accommodate a growing congregation, burnout is almost inevitable. My situation is the inverse. I am a college writing instructor with an abundance of free time, and with retirement a year away, that abundance is about to expand into something even larger—and potentially more dangerous.

    Comer imagines his future: a successful pastor, bestselling author, and sought-after speaker. By every external metric, he wins. But internally, he sees something else—hollowness, irritability, exhaustion, and a life that feels “emotionally unhealthy and spiritually shallow.” He barely recognizes himself.

    So he steps away. After a decade of acceleration, he takes a sabbatical. He sees a therapist. Stripped of his role as a megachurch pastor—the centerpiece of his identity—he feels disoriented, describing himself as “a drug addict coming off meth.” He has time now, but no clarity about who he is without the machinery of constant activity.

    He frames his book simply: imagine meeting him for coffee in Portland, talking about how not to drown in the “hypermodern” world. His approach is explicitly Christian, rooted in the life and teachings of Jesus, and aimed at answering a deceptively simple question: what does it mean to rest? And more importantly, how does one rest in a culture that equates value with speed?

    I approach this with skepticism. I’ve been a Christian-obsessed agnostic since I was seventeen, and I have little patience for spiritual platitudes. Still, Comer has earned his authority through suffering, not abstraction. He anticipates my resistance and addresses it directly: “If you want a quick fix or a three-step formula in an easy acronym, this book isn’t for you either. There’s no silver bullet for life. No life hack for the soul. Life is extraordinarily complex. Change is even more so. Anybody who says differently is selling you something.”

    That alone earns my attention.

    So I’ll take the invitation. I’ll sit down for coffee and listen to what he has to say in his so-called “anti-hurry manifesto.”

  • The Last Man in Orthopedic Loafers and Elastic-Waist Pants

    The Last Man in Orthopedic Loafers and Elastic-Waist Pants

    Aging doesn’t ask for your permission; it revises you anyway. Somewhere in your fifties and sixties, the body starts filing small grievances—slower recovery, dimmer recall, a half-step lost where you used to be crisp. The gap between who you were at your peak and who you are now widens just enough to notice. From that gap, a familiar assumption creeps in: that the later years should be quieter, safer, smaller—that the future is no longer a frontier but a managed environment. Call it Horizon Collapse: possibility shrinks to what’s nearby and controllable, and ambition is gently escorted out as an unruly guest.

    Prudence has its place. You don’t need to flirt with injury to prove you’re alive. But push prudence a notch too far and you build a Comfort Cage—a life engineered for ease that quietly imprisons curiosity, risk, and meaning. The edges are padded, the lighting is flattering, and nothing hurts. That’s the problem. When nothing hurts, nothing demands anything of you, and the day becomes a sequence of agreeable non-events. The soul, deprived of friction, goes slack.

    What’s more troubling is how this posture has escaped the retirement brochure and gone mainstream. Convenience has metastasized into a philosophy. With enough apps, prompts, and gentle automation, you can outsource not just your errands but your thinking. The result is Existential Downsizing: a voluntary reduction of one’s life to what is safe, efficient, and easily optimized. Big aims look wasteful; difficulty looks optional; meaning becomes a luxury item you can’t quite justify. We’ve confused the removal of obstacles with the arrival of purpose.

    This is the cultural air that breeds what Friedrich Nietzsche called the Last Man in Thus Spoke Zarathustra—a figure who has traded ambition for comfort and calls the bargain progress. He isn’t villainous; he’s deflating. He prefers safety to greatness, ease to excellence, consensus to conviction. Having minimized risk, he also minimizes transformation. He is content, and his contentment is the problem: a steady, blinking satisfaction in a life that no longer reaches beyond itself.

    Age can tempt you into this posture—“I’ve done enough; let me coast”—but so can technology. You don’t need bad knees to stop striving; you just need a system that makes striving feel unnecessary. In that sense, the Last Man is not a demographic. He’s a setting.

    I can’t pretend this isn’t a bleak picture. The best parts of my life have come from the opposite impulse: sitting at a piano until something stubborn yields; writing long, obsessive pieces that refuse to resolve themselves quickly; watching comedians build an hour of precision out of years of invisible labor. None of that is compatible with a life optimized for convenience. Achievement is allergic to ease. It requires time, friction, and a willingness to look foolish on the way to something that might matter.

    At sixty-four, with retirement approaching, the question isn’t whether decline exists—it does—but whether it gets to dictate the terms. The temptation is to let a slower body and a noisier mind argue for a smaller life. The counterargument is simple and hard: keep choosing projects that resist you. Keep placing demands on yourself that comfort would veto. Otherwise, you’ll end up perfectly safe, perfectly managed, and perfectly diminished—living proof that when you optimize for ease, you don’t just remove obstacles. You remove the reasons to move at all.

  • The Seduction of Self-Cancellation

    The Seduction of Self-Cancellation

    You may have reached the unflattering clarity of seeing yourself as a Broken Misfit Toy. Strip away the syrup of self-pity and the diagnosis might hold. You’ve audited your habits, your relationships, your blind spots, and the balance sheet isn’t pretty. Fine. Accuracy is not the problem.

    The problem is what you do with it next.

    The moment you stamp yourself BMT, a seductive logic appears: If I’m damaged, I’m disqualified. Who am I to speak? Why should anyone listen? What could I possibly offer besides a cautionary tale? This is the mind trying to turn honesty into a muzzle.

    Let’s dispense with the melodrama. Self-pity is a terrible strategist. It doesn’t help you act; it helps you narrate your inaction with a certain tragic flair.

    Now the real question: Does a Broken Misfit Toy have anything to offer? The answer is a qualified yes—qualified by one thing only: insight. If you can look at your fractures without flinching, you can extract something from them. Loneliness, alienation, the habit of substituting art for connection, the long improvisation of living slightly out of tune—these are not rare conditions. They are common currencies.  What feels like private damage becomes public language.

    That doesn’t redeem the damage. It repurposes it.

    So call yourself a Broken Misfit Toy if you must. Just don’t use the label as a permission slip to sit out your own life. Idleness will not preserve you; it will concentrate the very defects you claim to recognize.

    And beware the neatest trap of all: the Broken Credential Fallacy–the belief that your flaws revoke your right to think, speak, or contribute. It’s a clever maneuver. It dresses up as humility while quietly ensuring you never risk being heard. It turns self-knowledge into silence and files your experience under “inadmissible.”

    You’re not disqualified. You’re on the record. The question is whether you’ll say anything worth hearing.

  • “Marty Supreme” Is a Rebuttal to Liquid Modernity

    “Marty Supreme” Is a Rebuttal to Liquid Modernity

    I sat through the 2.5-hour sprawl of Marty Supreme with a mix of fascination and dread, the way you watch a man juggle lit matches in a room full of gasoline. It doesn’t take long to diagnose Marty Mauser: no self-awareness, no boundaries, no governor on his appetites. Once you see that, the plot stops being a mystery and becomes a countdown. He treats his life–and everyone else’s–as expendable material in the service of his ego. Chaos isn’t an accident; it’s the operating system. The film runs on a kind of psychological determinism: remove self-knowledge and restraint, and watch the dominoes fall. The difficulty, of course, is that Marty is repulsive in the precise way the movie needs him to be. Some viewers refuse the bargain—why spend hours with a moral vacancy? I’d argue that’s the point. Like Uncut Gems, where Howard Ratner detonates his own life in slow motion, or Boogie Nights, where Dirk Diggler mistakes appetite for identity, this film belongs to a category I’d call the Chaos Agent Antihero: a person so unmoored from self-scrutiny that he turns every room into a hazard zone.

    It’s easy to dismiss these films as nihilistic—two hours of bad decisions dressed up as entertainment, but that reading is too lazy by half. Beneath the wreckage is a stern, almost old-fashioned argument about limits: the necessity of boundaries, the discipline of saying no, the unglamorous virtue of constraint. In that sense, the Chaos Agent Antihero is a rebuttal to what Zygmunt Bauman called liquid modernity—the condition in which everything solid dissolves into options. Careers become gigs, relationships become arrangements, identities become costumes you change between scenes. The promise is freedom; the invoice is fragmentation. In that fluid world, a man like Marty isn’t liberated; he’s uncontained. Without structure, he doesn’t discover himself; he disperses.

    Follow that logic to its end and you get the customary finish for men like Howard Ratner and Dirk Diggler: ugly, terminal, and instructive precisely because it refuses redemption. Marty Supreme flirts with a different exit. Fatherhood appears like a last-ditch intervention, a chance to trade improvisation for obligation, appetite for responsibility. You sense the film asking whether a man can accept the humiliating truth of limits and, in doing so, become something sturdier than a bundle of impulses. The alternative–the radical individualist with no brakes–isn’t freedom. It’s a long fall with excellent lighting.

  • Why the Word “Stress” Has Outlived Its Usefulness

    Why the Word “Stress” Has Outlived Its Usefulness

    The word stress has been talked into exhaustion. It shows up everywhere—therapy sessions, productivity podcasts, corporate memos—until it becomes a kind of verbal white noise. Everything is stressful. Traffic is stressful. Email is stressful. Existence itself is apparently one long panic attack. The result is not clarity but numbness. A word that once pointed to something real now floats, bloated and imprecise, over every inconvenience and calamity alike. It needs to be stripped down, cleaned up, and returned to service.

    Start by dividing what we lazily call “stress” into three distinct experiences.

    First, there is what we might call existential friction—the strain that comes from living a life that actually matters. Sartre described it as getting your hands dirty. It is the tension of responsibility, of choosing action over comfort. Think of Viktor Frankl, who could have escaped a concentration camp but stayed to tend to the suffering around him. To say he was “stressed” is to trivialize the moment. He was engaged in a moral confrontation with evil. The discomfort was not a malfunction; it was the price of meaning. A bodybuilder tears muscle to grow stronger. A moral person strains against life’s conflicts to become more fully human. This is not pathology. It is construction.

    Second, there is narcissistic agitation—the counterfeit version of stress, self-generated and corrosive. This is the anxiety of the addict chasing relief, the restless paranoia of the status-obsessed, the brittle ego that reads every room as a threat. Here the individual is both the engine and the victim of the distress. It is not the friction of purpose but the turbulence of misalignment. To confuse this with existential friction is not just sloppy; it is morally obtuse. One builds character. The other erodes it.

    Finally, there is existential overload—the strain that arrives uninvited and exceeds your capacity to absorb it. This is not heroic and not self-inflicted. It is what happens when life stacks too many weights on the bar at once. Divorce, illness, financial collapse—events that don’t ask for your permission before they rearrange your nervous system. In this state, the body begins to narrate what the mind cannot contain. Appetite disappears. Sleep fractures. Symptoms bloom. There is no lesson neatly packaged inside it, no redemptive arc guaranteed. It is endured, not chosen.

    I think of my brother in 2020. His marriage collapsed. He was suddenly alone during the pandemic, financially strained, disoriented. Then came the diagnosis: Burkitt lymphoma. Two months to live. That is not “stress.” That is existential overload in its purest form. And yet, against those odds, he found a narrow corridor of hope—a CAR T-cell therapy trial at UCSF. He took it. He survived. He is in remission. The word stress does not belong anywhere near that story.

    This is why the word needs to be retired from serious use. It flattens distinctions that matter. It places the inconvenience of a crowded inbox on the same plane as a confrontation with mortality. Better to replace it with terms that carry weight: existential friction, narcissistic agitation, existential overload. Precision is not pedantry; it is navigation. If you’re trying to find your way out of the dark, you don’t need a vague feeling. You need a compass that actually points somewhere.