Tag: fiction

  • Bracelet Ambivalence Disorder: When Steel Looks Right But Feels Wrong 

    Bracelet Ambivalence Disorder: When Steel Looks Right But Feels Wrong 

    About two years ago, after more than two decades in the watch hobby, I developed a new condition. It arrived quietly, without warning, sometime around 2024.

    I became ambivalent about bracelets.

    I suspect the trouble began with my Seiko SLA055. It came on Seiko’s chocolate-bar rubber—an arrangement I never learned to love. The sliding metal keeper felt cheap, the rubber looked underdressed, and the whole thing struck me as unworthy of a watch north of three thousand dollars.

    So I did what any rational enthusiast would do. I spent over a thousand dollars chasing the perfect strap.

    Most were disappointments. One survived: the FKM Divecore. For a brief moment, peace. Then came the study about FKM and the whispers of “forever chemicals,” and suddenly my sanctuary felt like a toxic waste site.

    Back to the drawing board.

    I finally bought the Seiko bracelet from the SLA077. Four hundred dollars. And I have to admit: it transformed the watch. Steel gave it authority. Gravity. Presence. The same thing happened with my SLA023 and the Tuna SBBN049. On bracelets, these watches don’t just look good—they look heroic. Complete. Like they’ve put on their uniforms.

    So what’s the problem?

    The obvious answers come first. Bracelets are heavier. Links press into the wrist at odd angles. Sizing becomes a seasonal engineering project as weight and weather shift. All true.

    But none of that explains the deeper resistance.

    Because the truth is, this isn’t about comfort. It’s about identity.

    Straps represent something to me: restraint, practicality, anti-bling minimalism. Being “the strap guy” feels like a moral position. Seven watches on rubber feels orderly. Clean. Controlled. And in the strange psychology of collecting, control is another word for happiness.

    Except the mind doesn’t stay controlled for long.

    After months of strap purity, I start craving variety. Maybe one bracelet. Maybe two. A little diversity. A little steel.

    And that’s when the real problem begins.

    The moment a watch goes on a bracelet, it becomes a box queen.

    I tell myself I’m saving it for special occasions. But special occasions turn out to mean a birthday dinner twice a year. Meanwhile, the watch sits in the box, looking magnificent and doing absolutely nothing.

    This morning, after a post-workout nap, I woke up with a plan. Enough of this. I would remove the bracelets from the three offenders and restore order.

    Then I opened the watch box.

    And there they were—those watches on steel—looking perfect. Finished. Complete. Like museum pieces that had finally been framed correctly.

    I couldn’t do it.

    So here I am typing this while wearing my Seiko Uemura SLA051 on an MM300 waffle, fully aware of a simple truth:

    If this watch were on a bracelet, it would still be sitting in the box.

    At this point, I don’t see a solution. I’ve stopped looking for one. This is simply another occupational hazard of the enthusiast’s life.

    I suffer from Bracelet Ambivalence Disorder—the chronic inability to commit to either straps or bracelets, marked by alternating attraction and avoidance. Bracelets are admired. Straps are worn. The heart wants steel. The wrist wants rubber.

    If anyone else suffers from this condition, please make yourself known.

    Misery, like stainless steel, feels lighter when shared.

  • Horological Deconversion: When the Romance Finally Breaks

    Horological Deconversion: When the Romance Finally Breaks

    I recently wrote an essay arguing that pursuing mechanical watches in a digital world is a kind of elegant absurdity—an expensive devotion to obsolete technology while the rest of civilization marches toward sensors, satellites, and software. My proposed remedy was simple and slightly heretical: sell the mechanicals and replace them with an atomic or Bluetooth G-Shock. Accuracy, durability, zero drama. Efficiency instead of romance. Sanity instead of ritual.

    The piece was meant to provoke. Not just readers—me. Writing, after all, is less self-expression than self-interrogation. As Kafka put it, it’s the axe for the frozen sea. Sometimes the ice you crack belongs to your own illusions.

    What began as a tongue-in-cheek thought experiment turned into something less comfortable. It forced me to examine the possibility that my love for mechanical watches isn’t love at all—it’s theology.

    Over the years I refined my taste, sold the excess, and curated a tight collection of mechanical divers. Vintage aesthetic. Tool-watch credibility. A faint whiff of James Bond climbing out of the ocean with a harpoon gun and moral certainty. I told myself this evolution reflected discernment, maturity, identity.

    But the thought experiment raised a harder question: Did I discover my taste—or manufacture it?

    Human beings have a habit of building sacred spaces inside a profane world. Perhaps my watches became sacred cows—objects elevated not because they were necessary, but because I needed something to stand against modern life. Mechanical time as resistance. Analog as virtue. Nostalgia as courage.

    In this story, I cast myself as a quiet rebel.

    But what if the story is fiction?

    What if I’m not resisting anything at all? What if I’ve simply joined a small tribe of aging enthusiasts who reassure each other that spending thousands on obsolete machines is an act of character rather than consumerism?

    At that point, the romance starts to look like cosplay.

    Thousands spent on purchase. Thousands more on service. All to reenact a cinematic memory of youth. The whole enterprise begins to resemble those baseball fantasy camps where middle-aged men pay to take batting practice with retired heroes and pretend, for a weekend, that the dream never ended.

    The thought experiment did something dangerous: it planted a fantasy.

    Sell everything.

    Replace the collection with one or two G-Shocks.

    Start over.

    The appeal isn’t the watch. It’s the psychological reset. The possibility of closing a chapter and reclaiming the mental bandwidth the hobby quietly occupies. Change, after all, is the most intoxicating drug available to a restless mind.

    I’ve felt this kind of impulse before.

    In 2005, after three decades of gym culture, I was standing in an LA Fitness in Torrance, wiping someone else’s sweat off a treadmill while pop music pounded overhead and everyone talked about nothing. The thought hit me with sudden clarity: I need to get out of here.

    Within a week I’d left the gym, bought kettlebells, started power yoga in my garage, and never went back. At the time it felt impulsive. In hindsight, it was alignment—something deep finally overriding inertia.

    I sometimes wonder if watch collectors experience the same internal shift—the moment when accumulation feels less like passion and more like weight. The urge to take a wrecking ball to the collection. To simplify. To breathe.

    This moment has a name: Horological Deconversion—the quiet psychological turn when watches stop looking like identity and start looking like artifacts of habit, mythology, and sunk cost.

    I know someone who went through it. A serious collector. Deeply invested. One day he had the overwhelming urge to sell everything and replace the collection with a $20 Casio F-91W. Eventually he did. He told me the move saved his sanity.

    He still reads the forums. Still watches the madness unfold. But now he’s an observer, not a participant. The zoo is still interesting when you’re no longer inside the cage.

    Anyone who sells their mechanical collection, buys a single indestructible digital, and walks away lighter will have my respect. Not because minimalism is virtuous, but because exits are hard. Leaving a closed system always is.

    There’s something quietly heroic about it—the horological version of a Shawshank escape. Crawl through the tunnel. Emerge on the other side. Stand in the rain and realize the prison was partly self-built.

    And somewhere beyond the walls, there’s a small, durable watch keeping perfect time—and a life of freedom and expanding possibilities.

  • Absolutes and the Ruin of Watch Collecting

    Absolutes and the Ruin of Watch Collecting

    It’s often said that comparison is the mother of misery. No matter how high you climb in any pursuit, there’s always someone perched above you, dangling their boots over the edge. The distance between you and them can feel vast—so vast it erases the climb you already made. In watch collecting, this happens fast. You finally land your grail: a Seiko GMT diver that cost real money, money that made you flinch. You admire it. You feel complete. Then a friend casually flashes a five-thousand-dollar Grand Seiko and—poof—your triumph collapses. You don’t feel lucky. You feel inadequate.

    If comparison is the mother of misery, then she has a meddlesome sister. Call her Aunt Absolute. Aunt Absolute is just as ruinous. She whispers that contentment requires perfection. Not just a great watch, but the right watch. Not just a collection, but the collection. The correct rotation. The correct strap. The correct bracelet. She promises peace once everything clicks into place forever.

    This hunger for absolutes usually rides shotgun with an OCD streak in the hobby. The flaw in that mindset is simple: the hobby refuses to stay still. Tastes change. Knowledge deepens. Bodies age. Jobs shift. Moods fluctuate. Absolutes hate variables, and watch collecting is nothing but variables. To the absolutist, change feels like threat, and threat breeds anxiety. In its ugliest form, that anxiety convinces you your collection is one wrong move away from collapse. Sell a watch. Swap a strap. Wear a bracelet again. The whole thing topples. This is Jenga Anxiety—the chronic fear that a single adjustment will destabilize not just your watches, but the identity you’ve built around them. Adaptability feels like fragility. Experimentation feels like self-destruction.

    I lived under Aunt Absolute’s roof for about two years. I refused bracelets entirely. Every watch sat on Divecore FKM straps. The system was clean. The rules were rigid. I was happy—until the FKM “forever chemical” scare cracked the foundation. I reassessed. I adjusted. Now four watches live on straps and four on bracelets. The collection breathes. I have options. And yes, I forgot how good a bracelet can feel until I let myself enjoy one again.

    That experiment proved something important. I didn’t need absolutes to enjoy the hobby. I didn’t need perfection. Flexibility wasn’t failure—it was freedom. The watches didn’t lose meaning when the rules softened. They gained it.

    Will I stay flexible, or will I drift back toward absolutism? History suggests vigilance is required. But if I feel Aunt Absolute tugging at my sleeve again, I’ll remind myself of a simple truth: absolutism is the aunt of misery.

  • Buy Now, Regret Later: How Ancient Instincts Ruined Modern Shopping

    Buy Now, Regret Later: How Ancient Instincts Ruined Modern Shopping

    In the early 1990s, I saw comedian Rob Becker perform Defending the Caveman in San Francisco—a one-man anthropology class disguised as stand-up. His central thesis, stitched together from kitchen-table spats with his wife, was that men are hunters, women are gatherers, and this prehistoric wiring still runs our modern relationships like a bad operating system.

    His proof? Shopping.

    For the gatherer, shopping is a leisurely daydream. Wandering the mall for six hours and imagining buying things she can’t afford is an enriching sensory experience—like spiritual window-shopping. For the hunter, shopping is a surgical strike. He wants pants. He buys pants. He leaves. The suggestion to “just browse” makes his eye twitch.

    “Let’s get the hell out of here,” says the man. He has completed his mission. He has felled the beast.

    That moment—man as single-focus, tunnel-visioned, goal-oriented predator—explains a great deal about the pathology of watch addiction. We are still cavemen, just hairier and worse at squatting. And we don’t hunt food anymore. We hunt wristwear.

    We see a watch online and a brontosaurus steak lights up in our brain. Locked in. Target acquired. Our dopamine circuits spark like faulty Christmas lights. We must have it. There is no tranquility, no peace, until the object is in our possession.

    The problem? Our primitive instincts weren’t designed for the digital age. Back then, acquiring a new object meant trekking through wilderness, battling saber-toothed tigers, and earning your meal. Today, it’s clicking a “Buy Now” button while half-watching a YouTube review at your ergonomic standing desk, surrounded by a sea of unopened Amazon boxes. Intoxicated by online shopping platforms, we are overcome with the Horological Hunt Reflex–the involuntary lock-on response triggered by spotting a desirable watch. Once activated, attention narrows, patience evaporates, and the collector cannot rest until the object is captured—regardless of need, cost, or logic.

    Our brains still think we’re walking 40 miles to spear a mammoth. In reality, we’re reclining in office chairs with lumbar support, ordering $2,000 divers like they’re takeout sushi. The hunt requires no sacrifice, no sweat, no real effort. And so it never satisfies.

    This caveman instinct affects our watch hobby. We get the watch. We admire it. We post a photo to Instagram. Then—we twitch. We fidget. Our brain says, “Good job. Now go get another.”

    We are not content in the cave. Evolution didn’t design us for stillness. It designed us to be hungry. To prepare. To hoard. So we keep hunting. And the cave fills with stainless steel trophies until the glint attracts low-flying pterodactyls that dive-bomb us in our sleep and try to pluck the Omega off our wrist.

    We are maladapted creatures. Our eyeballs evolved for survival. Now they doom us. We were built to scan the horizon for danger. Now we scan Hodinkee, Instagram, Reddit, eBay, WatchRecon, and Chrono24 until our dopamine is a wrung-out dishrag and our bank account is an obituary.

    We’re trapped in a glitch—stone-age instincts, 5G bandwidth. Our visual fixation, once essential to survival, now chains us to a cycle of desire and regret. Thousands of watches flood our screens in a single hour, and our brains are too old and too soft to resist. The only real solution is exile. But exile from what? Our jobs, our networks, our entire digital lives?

    There is no cave to retreat to. Just another tab open.

  • The Greatest Book My Father Never Wrote

    The Greatest Book My Father Never Wrote

    Last night I dreamed I was summoned to a publisher’s office, the kind that smells faintly of dust, old paper, and deferred hope. I sat across from a man in his early sixties wearing a beige suit so aggressively neutral it seemed designed to disappear into the shelves behind him. Those shelves were packed tight with books—the visual shorthand for authority, legitimacy, and the life I was supposed to have lived.

    He told me, calmly, as if delivering weather updates, that my father had written a perennial classic. A bestseller. A semi-autobiographical novel about growing up poor, raising me with my teenage mother in the Gainesville projects. The book, he said, was written with mordant wit and bruised humor and was routinely compared to Huckleberry Finn.

    Then he handed me a copy.

    I opened it and recognized everything immediately: Flavet Villages, the roach-infested housing complex for veterans and struggling students, where poverty clung to the walls like nicotine. The prose was first-person present tense—close, intimate, relentless. I said this out loud, the way you do in dreams when you want credit for noticing things. The publisher nodded, pleased.

    “Have you ever thought about doing something like this?” he asked. “Following in your father’s footsteps?”

    I shook my head. Then I asked the only question that mattered: “How come I never heard about this book before?”

    “Oh, it doesn’t exist here,” he said, waving the concern away. “It exists in a parallel universe in a faraway galaxy.”

    Naturally.

    At this point, he reached into his desk and handed me a gray carbon radio shaped like a pyramid—part Cold War relic, part sci-fi prop. It had a special shortwave frequency that could lock onto that distant planet, where my father’s novel was being read aloud, endlessly, by a space alien. Anytime I wanted, I could tune in and listen. It would comfort me, he said, as if this explained everything.

    I thanked him, left the office, and met my wife and twin daughters at the San Francisco Zoo. While they stared at zebras with the earnest fascination of people grounded in reality, I extended the antenna and tuned the dial. The alien’s voice crackled through—steady, patient, reverent—reading my father’s great novel for the thousandth time.

    My family looked at me like I’d finally tipped over into madness. I didn’t care.

    I was listening to the greatest book my father never wrote, being read forever in a universe where it mattered. And for once, that was enough.

  • When Loving Watches Starts to Feel Like a Job

    When Loving Watches Starts to Feel Like a Job

    In her darkly hilarious comedy special Father, Atsuko Okatsuka shares the origin story of her career in punchlines. Her schizophrenic mother once “kidnapped” her in Japan and whisked her away to the United States without warning, severing her ties to her father in the process. The trauma was so disorienting, so profound, that Atsuko now mines laughter for survival. She tells us, with a comedian’s grin and a survivor’s twitch, that she performs to fill an infinite hole in her soul with the validation of strangers.

    That hole is not unique to her. It’s a universal pit—bottomless and demanding. Validation comes in many flavors. For some, it’s esteem and admiration. For others, it’s expertise, artistry, the warm glow of audience approval. For Atsuko, it’s laughter. For others, it’s the faint buzz of a “like” on a post about a wristwatch.

    Let us now consider the watch obsessive, a different breed of relevance-seeker, but a kindred spirit nonetheless. He isn’t doing five-minute sets at the Laugh Factory, but he is performing—on Instagram, on forums, on YouTube, in the comment sections of strangers’ macro shots. He presents his taste, his “knowledge,” his ever-shifting collection. But underneath the sapphire crystals and brushed titanium is the same primal whisper:
    Do I still matter?
    Do they still see me?

    Here’s the tragic twist: he may already have the perfect collection. It gives him joy. It’s balanced. It fits in a single watch box. By all logic, he should stop. Buying another watch would be like adding a fifth leg to a table—wobbly and unnecessary. But he doesn’t stop. He can’t stop.

    Why? Because if he stops collecting, he stops posting. If he stops posting, he stops being seen. And in a world addicted to scrolling, disappearing feels like dying.

    Relevance is the new oxygen. And social media is a machine that runs on novelty, not legacy. The digital hive forgets fast. “Gangnam Style” is now a fossil. “Call Me Maybe” is background noise at the grocery store. To stay visible, you must be new. You must be shiny. You must offer dopamine.

    And what happens when the watch addict manages his demons, reaches peace, and stops feeding the machine?

    He becomes boring. He becomes silent. He becomes irrelevant.

    And the parasocial bonds he once had—those illusory friendships, those mutual obsessions—fade. The sense of exile is real. It doesn’t matter that the exile is self-imposed. The pain still lingers.

    That fear—that primordial fear of irrelevance, of being cast out from the tribe—can be so powerful it masquerades as passion. It convinces the watch obsessive to keep flipping, keep chasing, keep posting. Not out of love, but out of fear.

    In this crazed state, the obsessive has succumbed to Performative Collecting–the transformation of a private pleasure into a public act staged for recognition. Watches are curated less for personal resonance than for their ability to sustain audience attention. Silence is interpreted as failure.

    So the question becomes: Are we collectors? Or are we hostages? Do we love horology? Or are we simply terrified of vanishing?

  • When Your Bodybuilding Past Still Haunts You

    When Your Bodybuilding Past Still Haunts You

    Last night I dreamed I was illegally transporting a piano.

    This was not a metaphorical illegality. It was a regulatory one. The kind involving helpers, permits, and fines. According to Dream Law, moving a piano required two assistants. I only had one. If caught, I’d be cited. Possibly shamed. I loaded the piano anyway—my beautiful, expensive ebony instrument—into the back of an open truck and drove it from the Bay Area to Southern California, white-knuckled and guilty, like a man smuggling contraband Chopin.

    I was living, temporarily, on a compound owned by a vaguely unsavory man. He was tall, pinch-faced, and always wore a blue suit, the uniform of people who know things you don’t want to know. He had the aura of a community fixer—part mentor, part hustler, part moral hazard. He gave me piano lessons, encouraged me to keep lifting weights, and introduced me to restaurants with the enthusiasm of someone laundering taste through generosity. 

    On the day I was supposed to leave, my anxiety peaked. Rain was coming. The piano sat exposed in the truck bed like a sacrificial offering. One good storm and the ebony would swell, crack, die. I panicked. The trickster waved it off. Go eat lunch, he said. By the time you’re done, the rain might stop. This was either sage advice or the kind of line uttered by men who profit from delay.

    I drove to a nearby restaurant. It was mobbed. People stood outside drinking champagne as if waiting for a table were a lifestyle choice. Inside, servers were popping bottles at a frantic pace—corks flying, foam spilling, the atmosphere halfway between celebration and collapse.

    Then I saw it.

    Mounted beside the menu was a massive poster advertising a local bodybuilding exhibition. And there I was. Not the man I am now. Not the sixty-four-year-old who qualifies for senior discounts and considers fiber intake a moral issue. This was me in my mid-twenties: thick, swollen, carved out of stubborn protein and vanity. A human monument to leg day. I was the marquee attraction.

    The trickster, it turned out, had signed me up to pose in a bodybuilding exhibition without telling me.

    How did he know I’d be staying long enough to star in this marquee event? How did he know the rain would delay me? How did he still have a photo of a body I no longer inhabited? 

    When the diners saw me standing outside, recognition rippled through the room. Glasses paused midair. Heads turned. Then applause broke out. Cheers. My name—my old name—chanted with conviction. I tried to explain. I gestured at my face, my posture, the subtle collapse of time. I wanted to tell them I wasn’t that man anymore. That I now stretch before standing. That I wake up injured. That my biggest competition is inflammation.

    They refused to listen.

    The cheering swallowed my protests. Reality bent. And I understood, I would be showing up to that exhibition—dragging with me a body, an identity, and a past I no longer owned, but which apparently still had bookings.

  • When a Strap Solved Everything—and Instagram Ruined It

    When a Strap Solved Everything—and Instagram Ruined It

    I don’t work for Divecore straps. I don’t have an affiliate link. I don’t even remember how I found them. They just appeared one day, like a cult recruiter with good posture. All I know is this: once I tried them, something clicked. The fit was right. The comfort was immediate. The look was honest. So I did what any rational watch obsessive does when he thinks he’s reached enlightenment—I stripped every watch off its bracelet, slapped on black or orange FKM Divecore straps, and declared myself finished.

    Done.
    Happy.
    At ease.

    That phrase—at ease—matters. A seven-watch collection, unified by one strap philosophy, felt merciful. There was no mental juggling, no wrist gouging from metal end links, no micro-adjustment rituals to accommodate the daily swelling and shrinking of my aging, temperamental wrist. The system was clean. Elegant. Humane. For once, the hobby felt like a hobby instead of a low-grade engineering problem.

    Then, in August of 2025, Instagram did what Instagram does best: it ruined my peace. Someone informed me—solemnly, heroically—that a study had been released about FKM straps and PFAS “forever chemicals.” The straps in the study were abused like props in a MythBusters episode—conditions so extreme they bore little resemblance to actual wrist life—but still. With plastic contamination already saturating the planet, did I really need to marinate my arteries in additional synthetic mystery?

    So off came the FKM. On went the “safe” alternatives: urethane, silicone, vulcanized rubber. They were… fine. Adequate. Technically acceptable. Emotionally inert. I wore them the way you eat airline chicken—without complaint, but without love. And yes, I feel compelled to say it again: I still don’t work for Divecore.

    Feeling vaguely bereaved, I did what many men do when they sense disorder: I tried to impose balance. I put stainless steel bracelets back on some heavy hitters. I even bought a gunmetal, monochromatic dive watch on a bracelet, as if symmetry itself could rescue me. I now had four watches on straps and four on bracelets. The collection looked fantastic. Museum-worthy. Spreadsheet-perfect.

    And yet—I was less happy.

    That’s when I recognized the familiar enemy: Cognitive Load Creep. The slow, insidious return of mental fatigue as the collection grows more complex. Straps versus bracelets. Balance logic. Adjustment rituals. The hobby quietly mutates into unpaid systems management. Every glance at the watch box now came with a background hum of decision-making. And whenever that hum gets loud enough, a voice appears.

    You lost the plot.

    And it’s right.

    The plot was never variety.
    The plot was never balance.
    The plot was happiness.

    Happiness, in the watch hobby, is hard to define—but it’s easy to identify its opposites: stress, obsession, second-guessing, wheel-spinning, FOMO anxiety, mental overload, and the constant sense that you’ve taken on more than you can metabolize. If your watches feel like a to-do list, something has gone wrong.

    I’m trying to learn from this chapter. I know, intellectually, that less really is more. I know stress is poison. I also know I have a flair for melodrama. I can turn a strap swap into a Greek tragedy. I pine. I brood. I catastrophize like an adolescent waiting for a love note reply that never comes. It’s embarrassing. It’s funny. And I’m certain I’m not alone. Watch people are wired this way—OCD-prone, sentimentally overloaded, forever narrating their own inner turmoil.

    So what’s next?

    I don’t know. There’s no blueprint. No masterplan. No illuminated exit sign pointing toward Horological Sanity. The best I can do is remain watch-agnostic, laugh at my own compulsions, and tell the truth about whatever move I make next—if I make one at all.

    The world, I assure you, is not holding its breath.

    But a fellow watch obsessive might be.

  • I Forgot the Song, But the Song Didn’t Forget Me

    I Forgot the Song, But the Song Didn’t Forget Me

    Last night I dreamed I was attending an English Department meeting held, for reasons no dream ever explains, in a recreation room with an adjoining outdoor patio. The setting suggested morale had once been a priority, sometime around 1987.

    Inside the rec room, my friend S pressed a pair of earbuds into my hand. They were attached—not metaphorically, but literally—to a CD, which already felt like an archaeological artifact.
    “Do you know this song?” she asked.

    The music was exquisite. Airy. Radiant. It carried that dangerous quality of being both unfamiliar and deeply known, as if it had once lived inside me and quietly moved out without leaving a forwarding address. I admitted I didn’t recognize it.

    She looked at me with the gentlest possible contempt.
    “You burned this for me ten years ago.”

    I felt properly humiliated. Not embarrassed—abased. As if I’d forgotten the name of a childhood friend or my own middle initial. Then she summoned the band’s leader the way dreams do—no door, no introduction, just a man appearing fully formed.

    He was in his late forties, courteous, faintly exhausted, with the posture of someone who has spent years loading gear into vans at 2 a.m. I apologized to him for not recognizing his work. I blamed streaming—how it turns music into sonic wallpaper, a perpetual ambient fog where nothing has to be remembered because everything is always available. In a fit of dream-piety, I vowed to delete every streaming account I owned and return to vinyl, to sacred listening, to LPs spinning on absurdly expensive turntables like a penitent monk.

    He nodded shyly, as if he’d heard this promise before, and vanished.

    The departmental meeting began outside on the patio, but I lingered inside the rec room instead. I changed into a swimsuit for reasons that felt urgent at the time. I ate snacks—salty, comforting, vaguely institutional—and watched my colleagues through the glass as they discussed the usual bullet points: outcomes, alignment, initiatives. I meant to join them. Truly. But the snacks induced a narcotic drowsiness, and I collapsed onto a yellow beanbag chair like a defeated child at a daycare center. I fell asleep.

    When I woke, the meeting was still going on.

    Wrapped in a towel over my bathing suit, I finally wandered outside. My younger colleagues informed me I needed to sign the attendance sheet to get my FLEX hours. Unfortunately, the sign-up sheet had already been placed in a wooden box and sent to Human Resources, which in dream logic felt ominous and final, like evidence sealed in a cold case.

    The secretary waved it off. She would “put me in the system.”

    I thanked her. The meeting droned on. Words floated by without meaning. And all I could think about was that music—its beauty, its ache, its brief visitation. And then, with a second, sharper jolt of recognition, I realized I had forgotten it again.

    The song.
    The band.

    Gone.

  • The Watch Miserabilist

    The Watch Miserabilist

    The Watch Miserabilist is a man determined—by temperament, guilt, vanity, and a punishing inner prosecutor—to turn a pleasurable hobby into a moral catastrophe. He stares at his collection as if it were evidence in a trial against him and sighs, “These watches mock me. I am unworthy. I have nowhere to wear them.” He glances down at his Omega Planet Ocean while seated in a windowless man cave and concludes, with theatrical despair, that the watch has exposed him as a fraud. Luxury, in his hands, becomes an accusation.

    He shuffles around his lair like a contemporary Gollum: threadbare robe, bloodshot eyes, four-day beard, posture of defeat. He looks vaguely unhoused. The contrast is brutal—this exhausted homunculus lugging around a six-thousand-dollar slab of Swiss engineering on his wrist. The watch gleams with purpose; the man does not. You can practically hear the object wondering how it ended up here. Whatever redemption the Miserabilist hoped the purchase would bring has failed spectacularly. The watch did not save him. It only sharpened the irony.

    Despite owning a dozen coveted Swiss watches, his YouTube channel limps along with fewer than fifty subscribers. His voice is saturated with despair—thick, damp, unventilated. Viewers last about five seconds before clicking away, not because the watch isn’t beautiful, but because the misery is suffocating. The sadness radiates through the screen. You can almost smell the robe. No lume shot can redeem a tone that sounds like it’s been steeped overnight in self-loathing.

    The uncomfortable truth is that every watch obsessive carries a trace of the Watch Miserabilist within. It’s the voice of guilt and nihilism that wants to poison enjoyment, to insist that pleasure is illegitimate, that beauty must be justified, that desire is suspect. This voice must be acknowledged—but never indulged. You laugh at it. You recognize it. You keep it at arm’s length. Because once coddled, it metastasizes. The Watch Miserabilist is not wisdom. It is a disease, and left unchecked, it will devour every ounce of joy in its path.