Cinemorphosis

Tag: life

  • Retirement Isn’t the Problem—Entropy Is

    Retirement Isn’t the Problem—Entropy Is

    A month ago I had my first physical therapy appointment with Ken, a young man who radiated competence and emotional distance in equal measure. He handed me a list of exercises, told me to perform them three times a day, informed me that surgery was unlikely, and ushered me out like a man closing a file. Efficient. Impersonal. I assumed that was just his professional style.

    Yesterday I saw him again, and the man had apparently been replaced by his more human twin. He was warm, chatty, and openly exhausted—in the specific way that only new fathers can be. Suddenly his earlier aloofness made sense. That first session wasn’t clinical detachment; it was sleep deprivation in a polo shirt. This time he walked me through a new routine using resistance bands anchored to my bedroom door—pec flys, side laterals, posterior delts, the whole greatest-hits album of shoulder rehab. Best of all, the new program comes with mercy: once a day, four days a week. A civilized schedule for a man who has already paid his dues.

    Then came the good news. Ken tested my mobility and announced I had gained fifty percent in a month. That sentence deserves a parade. He followed it with an even sweeter story: one of his clients suffered a full “100 percent” rotator cuff tear and healed without surgery over fourteen months. I told him that sounded like gospel music to me. Hope, when you’re injured, is a performance-enhancing drug.

    While typing up my report, Ken casually asked how I felt about retiring from teaching in eighteen months. I didn’t bother with bravado. I told him the truth: I’m scared. When you spend forty years building a work persona—something that animates your days, sharpens your thinking, and gives your life narrative tension—and then you remove yourself from the stage, you don’t just lose a job. You risk losing your gravity. People love to say they’ll “stay busy” in retirement. But human beings don’t thrive on busyness. We thrive on stakes. Without them, we drift. Not into disaster—into comfort. Into pleasure. Into slow-motion decay fueled by snacks and streaming services.

    I’ve tested the volunteer fantasy already. Years ago, after adopting a rescue dog, I thought volunteering with the organization would be meaningful. Instead, I found myself sitting in front of a pet store in Redondo Beach on a Saturday, surrounded by wonderful people and feeling absolutely unnecessary. They were kind. They were earnest. I was bored out of my soul. The group’s founder, Cathy Rubin—a therapist with X-ray vision—took one look at me and said, kindly and accurately, “Jeff, this isn’t for you.” She was right. I kept donating. I never went back to volunteer. Not everyone is wired for sainthood.

    So yes, I’m scared of retirement. I’m scared of my own antisocial tendencies, my talent for isolation, my ability to rationalize entropy as “well-earned rest.” I’ll keep writing. I’ll make the occasional YouTube video. I’ll perform small acts of public presence. But I know the truth: I’m going to have to fight like hell to stay alive in the deep sense—not breathing, but burning. Because entropy doesn’t kill you in one blow. It kills you in installments.

  • Searching for Gold’s Gym While Life Sends Me to Radiology

    Searching for Gold’s Gym While Life Sends Me to Radiology

    Last night I dreamed I lost everything that usually pretends to be me. I woke up on the grass of a high school football field wearing only gray gym shorts and an empty wallet—no phone, no keys, no biography. From there I drifted into a wealthy Los Angeles neighborhood and became a kind of genteel vagrant, squatting in rich people’s basements and back cottages in exchange for handyman work. I had no idea how I knew what I was doing, but in the dream I somehow inherited the skills of an Italian drywall contractor I once knew as a teenager. My one obsession was finding Gold’s Gym, which in this fevered geography had become a holy site—Oz, Mecca, and Lourdes rolled into one. The belief was simple and insane: if I could just work out there, I would be saved.

    I never reached the gym. Instead, I wandered through mansions, luxury malls, and restaurants dripping with spectacle—giant half-naked fashion models leering from every surface like pagan idols of commerce. The excess depressed me. All that gloss, all that money, and not a shred of peace. I didn’t want the riches. I didn’t want the scenery. I just wanted enough handyman gigs to scrape together the cash to hire a guide—some benevolent Virgil—to lead me to the sacred weight room. In the dream’s logic, salvation required a spotter for the bench press and the squat rack.

    Then I woke up and reality delivered its own sermon. My left shoulder—the one recently diagnosed with a torn rotator cuff—was throbbing like a bad memory. I shuffled through the morning ritual: steel-cut oats, coffee, three ibuprofen, email. There it was—my doctor recommending an MRI and a steroid shot. So I did what every rational modern patient does: I watched YouTube videos of people being fed into MRI machines like cautious astronauts. The claustrophobia hit immediately. That narrow tube might as well have been a coffin with better lighting. I thought, there is absolutely no way I’m volunteering for this kind of psychological hostage situation. Surgery isn’t even on the table—so why stage a horror movie? I’ll pass on the MRI. I’ll take the steroid shot. I’ll stick with the practical mercy of pain relief.

  • Are We Extras in Someone Else’s Luxury Watch Fantasy?

    Are We Extras in Someone Else’s Luxury Watch Fantasy?

    Six weeks with my fifteen-year-old twins is a better sociology course than anything you’ll find at UCLA. Their generation runs on shared experiences—amusement parks, concerts, parties—and the sacred ritual of turning those moments into cinematic TikToks. They love empathy. They love energy drinks. They love boba with the devotion earlier civilizations reserved for gods. They exchange hugs so theatrical they deserve SAG cards. They also love not driving. Why would they? They have concierge parents for that. The car is not transportation; it’s a mobile confessional booth where they talk, text, and disappear into playlists like monks retreating into sonic monasteries. Licenses can wait. I’ll be stunned if either one pilots a vehicle solo before age twenty-five.

    They dress alike, too—hoodies, high-rise jeans, baggy sweatpants. When I pick them up from school, I scan a sea of identical silhouettes and play a grim game of Where’s Waldo: Daughter Edition. It’s like they all emerged from the same fashion assembly line, stamped and released in bulk.

    Then there’s the strangest quirk of all: the generational terror of bare feet. We live in Southern California, where flip-flops are a constitutional right. But when my daughters’ friends come over, I’m ordered—ordered—to put on shoes. Feet are not feet anymore. They’re “dogs,” “grippers,” “claws,” a traveling carnival of anatomical horror. One girl saw my bare feet and reported back like she’d witnessed a crime scene. Since then, I suit up like a hazmat worker whenever teenagers enter the house.

    Watching their collective likes and dislikes has turned me into an amateur René Girard scholar. Girard argued that we don’t want things because they’re intrinsically wonderful; we want them because the tribe wants them first. Desire is social plagiarism. The tribe writes the script, and we perform it thinking it’s improvisation.

    But there’s a dark twin to mimetic desire: mimetic aversion. If the tribe hates something, we learn to hate it, too—even if we never felt a flicker of disgust on our own. Case in point: “I saw your dad’s dogs. Gross.” A moral judgment delivered about toes.

    Naturally, this has sent my twenty-year watch obsession into a philosophical tailspin. When we crave a watch, is it a private passion—or just tribal ventriloquism? Are we collectors, or are we obedient extras in someone else’s luxury fantasy? And if we’re that easily programmed, doesn’t it expose something mildly humiliating about us—our insecurities, our hunger to belong, our weakness for social approval dressed up as taste?

    Maybe understanding desire would clarify us. Or maybe it would only prove how unclassifiable we really are. Some mysteries resist labels.

    Still, in the watch world, mimetic aversion is practically doctrine. Quartz watches are treated like dietary betrayal. You used to grill rib-eyes and now you’re flipping soy burgers? Next you’ll be wearing Crocs and asking for decaf. Show up at the wrong meet-up with a quartz on your wrist and you won’t just lose respect—you’ll lose invitations, subscribers, and possibly citizenship. “Quartz?” they’ll whisper. “Traitor.”

    On the flip side, mimetic desire runs the show just as ruthlessly. Look at the waiting lists. Look at the resale prices. When you buy certain watches, you’re not buying steel—you’re buying absolution. A Rolex Sub isn’t a timepiece; it’s a baptism. The tribe anoints you with holy water and hums a choral anthem over your wrist.

    So yes, the watch hobby is soaked in mimetic desire and mimetic aversion. But here’s my heresy: if you’re a true watch obsessive, those forces barely apply to you. Because your relationship with watches isn’t tribal. It’s theological.

    A real watch obsessive is ruled by three forces.

    First, the Svengali Effect. A certain watch doesn’t attract you—it hypnotizes you. It hijacks your agency like a charming cult leader. You try to resist. You fail. The watch plants itself in your brain and grows there like an invasive eucalyptus until surrender feels like destiny. This isn’t imitation. This is possession.

    Second, Horological Fixation. At this stage, your watch stops being a timekeeping device and becomes a visual narcotic. You no longer use your watch to check the time—you commune with the object. The world fades. The wrist becomes a shrine. Eden relocates to forty-two millimeters of brushed steel.

    Third, Horological Transfiguration. You put on the watch and—boom—you’re not just dressed, you’re transformed. James Bond. Jacques Cousteau. Brad Pitt walking into a bar where the jukebox automatically switches to something heroic. The watch doesn’t accessorize you; it authorizes you.

    I’ve known watch obsessives for decades. I know the symptoms. I know the tells.

    So if you live under the Svengali Effect, Horological Fixation, and Horological Transfiguration, René Girard’s mimetic theory doesn’t really apply. The good news: you’re not a phony lemming chasing tribal approval. The bad news: you’re completely unhinged.

    Congratulations. You’re a true watch obsessive—authentic, independent, gloriously insane.

    Now put on your watch. You’ve been Clark Kent long enough. It’s time to rip open the shirt and let the cape fly.

  • The Watch That Squatted in My Brain

    The Watch That Squatted in My Brain

    Six weeks ago I flirted—briefly, innocently—with an all-black Citizen Attesa. I ogled it on Sakura Watches, skimmed a few YouTube reviews, and rendered a tidy verdict: Handsome? Yes. Would I wear it in the wild? No. A museum piece for other people’s wrists. I closed the tabs and returned to my life. Or so I thought. Because the Attesa didn’t move on. It began stalking me with the devotion of a stray that has chosen its human. I’d open the Times, the Post, the Atlantic, the New Yorker—and there it was again, gleaming like a prom queen locking eyes across the gym, smiling just enough to suggest destiny and just enough to feel dangerous.

    That’s when the questions got weird. Why is this watch tailing me? Is it cosmic—my own horological North Star? A nudge from fate? Or something less celestial and more diabolical? Are marketing engineers quietly installing this thing in my skull, the way my engineer friend once installed competence on my computer during a Zoom rescue mission? I remember giving him full control and watching, slack-jawed, as he ninja-glided through my settings like a man who had memorized the machine’s dreams. Now I wonder if the Attesa has done the same to my mind—deleted entire neighborhoods of thought and rezoned them for luxury steel.

    Because let’s be honest: the watch isn’t just appearing on my screen; it’s squatting in my head. I no longer “think about” the Attesa—the Attesa thinks inside me. This is Cognitive Squatting: when a marketed object occupies prime mental real estate long after rational interest has expired. It pays no rent, ignores the lease, and refuses eviction. It replaces memory with mirage and turns coincidence into choreography. Do I still own my brain? Of course not. I’m a tenant now.

    So if one day you spot me wearing that all-black Attesa, don’t congratulate me on my taste. Call the authorities. I won’t be human anymore. I’ll be a converted unit—property of the algorithm—walking the earth as a watch-wearing android, ticking obediently to a rhythm I no longer chose.

  • Notes from a Man Who Almost Quit

    Notes from a Man Who Almost Quit

    A couple of days ago I posted a video that wandered—cheerfully and without a map—through two connected ruins: the normalization of male anger among boys raised by furious fathers in the 1970s, and the era’s larger faith in the Cult of Self. The seventies didn’t just give us flared jeans and shag carpets; they gave us a theology in which personal desire was holy and self-fulfillment was the promised land. If it felt good, it must be true. If it felt restrictive, it must be oppression. The problem, of course, is that this gospel of indulgence didn’t liberate anyone. It detached people from reality—its dangers, its obligations, its stubborn insistence that meaning comes from service, not worship of the mirror. Happiness, in adult life, is a side effect of using your talents to serve others. In adolescent mythology, it’s supposed to arrive through nonstop self-adoration. One path leads to purpose. The other leads to addiction, loneliness, and a master class in self-inflicted insanity.

    I was nervous about posting the video because it rambled like a drunk uncle at Thanksgiving. Structurally, it was a mess. Spiritually, I loved making it. Instead of delivering a pinch-faced lecture, I told stories—about my younger days as a glutton disguised as a bodybuilder, an aspiring hedonist loitering with my surfer-bro friend, both of us chasing pleasure like it owed us money. To my surprise, the audience didn’t flinch. The comments came back warm. The themes—male anger, Boomer dislocation in a world that moved on without us, the tragic comedy of self-indulgence—landed. Apparently, people still have an appetite for conversations that don’t flatter them.

    What made the whole thing sweeter is that I had been flirting with the idea of quitting YouTube altogether. My excuse was noble-sounding: I’ve already said everything worth saying. But underneath that was a quieter truth—I was retreating. Folding inward. Slipping toward a comfortable, well-furnished silence. Then a louder voice cut in: Don’t confuse retirement with wisdom. Don’t confuse exhaustion with completion. The video became a small rebellion—my living self telling my future fossilized self to take a hike. Life won the argument.

    Now I face the classic writer’s hangover: the fear that I’ve set a standard I can’t meet again. After a piece feels honest, everything that follows looks trivial, trite, or terminally lame. But that fear is the job. Writing isn’t a vending machine that spits out brilliance on command. It’s excavation. You dig and dig and learn to tell the difference between ore and dirt. If you can’t live with that grind, you’ll anesthetize yourself with Netflix and hero sandwiches until despair arrives—far uglier than the honest struggle you tried to avoid. Creation is hard. Avoiding it is harder.

  • “Yes, Kumail. Lift in anger. Lift in truth.”

    “Yes, Kumail. Lift in anger. Lift in truth.”

    On Friday night I sat in a theater watching my daughter’s dance performance—hundreds of high-schoolers, mostly girls, moving with athletic grace, precision, and fearless confidence—and I felt… bored out of my skull. Not proud of that. Not even neutral about it. Guilty bored. The worst kind. But after the fifth song with no narrative thread, no arc, no reason for existing beyond “vibes,” the whole experience started to feel like doom-scrolling a TikTok feed in human form. One glittering routine after another, all spectacle and no story. The sum effect wasn’t inspiration. It was sensory overload with a faint whiff of algorithmic numbness. Too much content. Too little meaning. Call it the aesthetic of “too much AI.” 

    To complete the sensory assault, the dry-ice fog machines gave my wife a headache—apparently carbon dioxide is not a love language. Being the saint she is, she went back for the Saturday recital while I stayed home and committed an act of mild rebellion: I made my first YouTube video in a month. I rambled about watch addiction, being a Boomer in a household that is aggressively not Boomer, and somehow braided all of it into my existential admiration for Rob Lowe’s memoir Stories I Only Tell My Friends. I assumed my subscribers would be polite and puzzled. Instead, they were enthusiastic. They seemed grateful for the mess. Which only confirms my long-standing suspicion that coherence is overrated if the tone is honest enough. Still, I hedged my bets and linked to the more disciplined essay version, just in case anyone wanted their chaos with footnotes.

    When my wife and daughters came home, I was sprawled on the couch watching the opening minute of Kumail Nanjiani’s stand-up special Night Thoughts. My wife sat down, we kept watching, and by the end I was applauding at the television like a deranged theater patron. I never do that. But there I was, fist in the air, cheering as Kumail—now built like a Marvel side quest—talked about being publicly scolded for daring to get jacked. His response? He’ll get even more jacked out of spite. I yelled encouragement at the screen as if I were his life coach. “Yes, Kumail. Lift in anger. Lift in truth.”

    I was jealous of his talent, of course. That’s part of the contract when you watch someone that good. But mostly I was happy for him. He’s just getting started, and it shows. Some people peak early. Some people arrive right on time. Watching him, I felt the rare pleasure of witnessing momentum in real time.

  • Seven Watches, Fifteen Grand, and One Hard Lesson About Growing Up

    Seven Watches, Fifteen Grand, and One Hard Lesson About Growing Up

    People always ask why I started focusing on watches ten years ago on my YouTube channel. The honest answer is awkward: I love watches—but I love food more. Obsessively more. Food has been my lifelong religion. In the early ’90s, when I lived in a bachelor pad that smelled like basil and ambition, my Navy SEAL friend Mike used to call and say, “McMahon, I can hear you chewing through the phone again. Every time I call you, you’re eating. What is it now, Fat Face?”
    “Angel hair pasta with pesto.”
    “Sounds dangerous. I’m coming over, Fat Face.”
    And he would—just in time to demolish everything I’d made. His appetite was powered by military drills and endless surfing sessions in Huntington Beach and Ventura. The man burned calories like a forest fire burns pine needles.

    One day he called again. “I’m heading to Santa Barbara to surf. Come with me.”
    “I can’t surf, Mike.”
    “I know you can’t surf, genius. My girlfriend Nicole will be there. She wants to set you up with her friend, Michelle, from Newport Beach. Now can you surf?”
    That’s how I ended up tagging along on adventures that had nothing to do with waves and everything to do with spectacle.

    Mike lived with his dad, Bob, a former Marine with a voice like a foghorn and a temper to match. Their daily ritual involved shouting matches over lawn mowing, garage messes, and grocery duties—two barrel-chested men poking each other like rival roosters while spittle flew. Five minutes later, the war would end, and we’d be off on a Mongolian beef run with Social Distortion blasting in Mike’s Toyota four-wheeler. Back at the house, they’d watch John Wayne movies, and Bob would open his gun safe “just in case the Duke needs backup.” This was not dysfunction to me. This was home.

    I’m a Boomer. I grew up in a world where anger was normal—where fathers barked orders and discipline came with a belt. When rage becomes your baseline, it’s like living with your brain permanently tuned to a Death Metal station. After a while, you stop hearing the noise. You just call it life. But it isn’t life. I know that now because I’m married to a woman fourteen years younger than me, and we have twin teenage daughters. They do not accept Death Metal Dad. They want something closer to Smooth Jazz—Bach, Earth, Wind & Fire, anything that doesn’t rattle the walls of the house. And they’re right. Rage is not masculinity. It’s a form of intoxication. A dangerous one.

    For me, sobriety isn’t about alcohol or drugs. It’s about anger. That means I have to watch my triggers like a hawk. One of the biggest? New watches. Shiny new objects flip the switch in my brain. Suddenly the Death Metal station is humming again, and I’m spiraling into desire, anxiety, and self-reproach. I know feeding my watch addiction makes me miserable, and when I do something that makes me miserable, I get angry at myself. Then I become a joyless human being—Grandma Sour Pants in sneakers. My family doesn’t want to be around me, and frankly, neither do I.

    The irony is that money isn’t the problem. I’m at a stage in life where I could buy any watch I want. But sanity is expensive. I own seven watches worth about fifteen grand in total, and even that feels like mental labor—keeping the rotation straight, remembering what I have, managing the noise in my head. If I owned twelve, I’d lose my grip entirely. My watch friends tell me, “Life is short. Buy what you want.” Those are words of indulgence, not wisdom. Indulgence has never made me happy. Indulgence is just infantilism in a tuxedo. A man-child with a credit card is still a man-child—and no man-child is happy. He buys things to outrun loneliness, and the things always lose the race.

    Ninety-five percent of my watch purchases were impulsive. Which means ninety-five percent of them were evidence of my own immaturity. I sold most of them at a loss—not because I needed the money, but because I needed my dignity back.

    I come from the Me-Generation, raised in California in the ’70s on a steady diet of self-worship. Rob Lowe’s memoir Stories I Only Tell My Friends nailed it for me. He described the Counterculture as the Worship of the Self—whatever the Self wants, the Self gets. No brakes. No compass. He watched people overdose, vanish, and destroy themselves in Malibu’s sunlit fantasyland. The message was simple: when desire becomes sacred, reality becomes optional—and disaster becomes inevitable.

    I am a watch freak. When I see a watch I love, my brain lights up like I’ve just taken a hit of something illegal. Desire surges. Anger follows. The loss of control is what really enrages me. Rob Lowe had to go to rehab to escape his fantasy life. I don’t want rehab for watches. I want a hobby that fits inside reality instead of dragging me out of it. I want pleasure without compulsion. Enjoyment without obsession. A life without permanent FOMO.

    And here’s the final joke on me: even talking about this makes me nostalgic for being fifteen in Santa Monica and Malibu in 1976. I start looking backward like Lot’s wife, and I can feel myself turning into a pillar of salt. The Death Metal station is warming up again. That’s my cue. I need to change the channel—before I buy another watch and call it happiness.

  • The Masculinity of Noise: How I’m Learning to Retire Anger

    The Masculinity of Noise: How I’m Learning to Retire Anger

    I was born in 1961, late enough in the Boomer generation to miss its mythic highs, but early enough to inherit its emotional weather. In the houses many of us grew up in, male anger wasn’t treated as a problem; it was treated as policy. Fathers were allowed to be unhinged. Discipline arrived with belts and eruptions, not explanations. If you disappointed him—by being slow, gloomy, or merely inconvenient—you didn’t get correction; you got rage dressed up as authority. And if your father was military, as mine was, that rage came with extra starch and sharper edges. Of course, he could also be funny, generous, even heroic in flashes, which made the whole experience confusing. You loved him. You feared him. You absorbed him.

    Now I’m in my sixties with teenage daughters and a wife fourteen years younger than me. I have to stay awake to the fact that I was raised in a culture where anger passed for masculinity. Today, I see anger differently—not as a right, not as a release, but as a liability. Anger is not power. It’s panic. It’s what happens when you mistake control for dignity and then lose both. The world refuses to cooperate. People remain unpredictable. You don’t get to be calm only when conditions are “frictionless.” That bargain never existed.

    Lately, after finishing a semester’s worth of teaching and another book that will probably never see a publisher’s desk, my mind feels oddly clear. In that clarity, one old companion stands out: inherited anger. I no longer treat it as a personality trait. I treat it as a relic—something to be handled carefully and put away for good. 

    I say this because I’ve spent most of my life marinating my brain in anger, and I can report back from the experiment: it’s like being trapped on a radio station that only plays sonic punishment. Call it Death Metal—endless noise, endless tension, no silence to think in. When I make a disciplined effort to meet my family and the world with humility instead of heat, the dial shifts. Suddenly it’s Bach. Space. Order. Breathing room. And here’s the practical wisdom I’ve earned the hard way: if you’re living with people you love, or steering a three-thousand-pound vehicle through public space, you want your mind tuned to Bach, not Death Metal. One soundtrack makes life survivable. The other just makes everything louder while you quietly fall apart.

    Growing up, real growing up, means choosing one radio station over another and accepting that you don’t run the variables of life. You don’t command outcomes. That is the default setting. Anger should not be. Anger belongs to toddlers and tyrants. Maturity begins when you retire it.

  • The Watch I Want vs. the Life I Actually Live

    The Watch I Want vs. the Life I Actually Live

    For the past month I’ve been circling the black titanium Citizen Attesa CC4055-65E the way a moth circles a very handsome, very unnecessary flame. It’s not even obscenely priced—roughly the cost of a Lenovo mini business PC with an Ultra 7—so my brain keeps pitching it as “reasonable.” I picture it on my wrist: sleek, dark, stealthy, broadcasting a silent message of confidence, competence, and maybe a little controlled menace. The fantasy version of me wears it everywhere. The honest version of me pauses and asks a less flattering question: where, exactly, am I going that requires this level of cinematic wrist presence?

    That’s when the self-audit begins. Would I really wear it, or would I merely own it—like one of those tasteful paintings people hang in their living rooms to prove they have a soul, then never look at again? But that analogy collapses on contact. A painting is for the wall. A watch is for the wrist. One is meant to be admired from across the room; the other is meant to live on your body, accumulating scuffs and stories. When I buy watches, what I’m really buying is a version of myself in motion—someone who leaves the house, enters public life, and performs a coherent aesthetic identity in the wild. The problem is that most days, I don’t need a public uniform. I need something comfortable while I work, run errands, and live in my own cave like a reasonably civilized hermit.

    That’s why my divers live on straps and not bracelets. Straps belong to real life—coffee runs, grocery aisles, desk time. Bracelets belong to fantasy life—the version of me who is being interviewed on late-night TV or starring in a tasteful indie film about male regret. Since those scenarios remain stubbornly fictional, the idea of strapping on a glossy black titanium showpiece starts to feel like costume drama. And here’s the punchline I can’t dodge: even if I became that public figure tomorrow, it wouldn’t make me happier or more whole. That life is a mirage. Which means the Citizen Attesa, for all its beauty, risks becoming one too—a chimera in black titanium, promising a transformation I no longer believe in.

  • “Raindrops Keep Fallin’ On My Head” and the Art of Being Nine

    “Raindrops Keep Fallin’ On My Head” and the Art of Being Nine

    When I was nine, in the summer of ’71, my family and three others camped on a tiny island near Mount Shasta—an experiment in frontier optimism that involved water skiing, fishing, and waging daily war against yellow jackets. We built traps from jars and funnels, which is what passes for science when you’re a child and the enemy has wings. Whenever the social noise became too loud, I retreated into a tent with Archie comics and a portable radio, my private bunker of paper jokes and AM static. Outside, the sun blazed and my friends howled with laughter. Inside, I lay on my stomach, flipping pages, while two songs drifted through the thin canvas walls—“Riders on the Storm” and “Uncle Albert/Admiral Halsey.” They were gorgeous. They were devastating. Their beauty did nothing to soften their sadness. They didn’t cheer me up; they baptized me into melancholy.

    I survived that summer gloom by clinging to the holy trinity of comic-book escapism: X-ray vision glasses, Sea Monkeys, and Charles Atlas promising to turn scrawny boys into beach legends. But I had known a better kind of sadness before that—eighteen months earlier, in fourth grade, when B.J. Thomas’s “Raindrops Keep Fallin’ on My Head” became the soundtrack to a winter of biblical rain in San Jose. That rain didn’t feel like inconvenience; it felt like permission. We walked in it. We built forts in it. We sang in it. Wet sneakers were badges of honor. Mud was a small price to pay for enchantment.

    After school, we took the longest possible route home, not because we were lost, but because we didn’t want the day to end. I think children are natural pantheists. We don’t worry about tracking dirt through the house; we worry about missing the miracle. One afternoon, in a downpour that looked like it had been personally arranged by the weather gods, I saw two middle school girls walking arm in arm, kicking their legs and singing like they were auditioning for joy itself. They weren’t performing happiness. They were inhabited by it. I don’t think I’ve seen human beings that unselfconsciously alive since.

    We eventually reached the edge of Anderson Elementary, where a park spilled into trees and bushes and, hidden like contraband, our cardboard fort waited. I crawled underneath it, stared through a gap in the walls at the rain-swollen sky, and sang “Raindrops Keep Fallin’ on My Head” to no one in particular. I remember feeling drunk on the depth of that sky, stunned by the sheer extravagance of being alive. I wasn’t happy because something good had happened. I was happy because everything had happened—and I was inside it. For a moment, I felt infinite. And, at nine, infinite felt the same as immortal.