Tag: writing

  • Marriage as a Three-Headed Beast: A Review of The Four Seasons

    Marriage as a Three-Headed Beast: A Review of The Four Seasons

    I’ve worshipped at the altar of Tina Fey’s comedic brilliance for decades, so when The Four Seasons popped up on my Netflix feed, I was dismayed. This didn’t smell like Fey’s usual ambrosia of wit and subversion—it reeked of midlife schlock. I swatted it away like a pop-up ad and went back to Black Mirror Season 7, content to wallow in algorithmic despair. But then the critics on Larry Mantle’s AirTalk (KPCC 89.3, for the culturally literate) described the show as “a good hang.” That faint praise intrigued me. My wife and I hit play, expecting light entertainment. What we got was a surprise: not only was it watchable, it became quietly addictive—then, unsettlingly, admirable.

    In eight breezy half-hours, The Four Seasons somehow captures the slow psychic erosion of long-term marriage with unsettling accuracy. Tina Fey and Will Forte play Kate and Jack, a couple who seem… fine. Functional. Even affectionate. Until the cracks begin to spread like hairline fractures on a windshield. By episode three, they’re in the car, both shouting expletives at the realization they need couples therapy. Not because they’re broken, but because their marriage has mutated into an ungovernable third organism—a beast with its own moods, tantrums, and existential despair. Therapy is no longer optional. It’s marital chemo.

    And so they go. They learn the rules: de-escalation, boundary-setting, “I” statements. The fights stop, which sounds good—until they stop talking altogether. What remains is a dried-out husk of a relationship, padded with therapy-speak and mutual avoidance. Every conversation is a minefield of affirmations and self-soothing clichés. They’ve traded rage for beige. No more screaming matches, but no more real connection either. They look like two grad students in a toxic group project, just trying to pass the semester without killing each other.

    Yet somehow, this truce counts as a win. The marriage is stable. Homeostasis, if not happiness. It’s better than divorce, which they watch unfold in their friends’ lives with morbid fascination. Their pal Nick leaves his wife for a younger woman named Ginny, who speaks in TikTok euphemisms and bathes him in fresh-eyed adoration. Nick is euphoric, weeping with gratitude like a man who’s just discovered fire. But Kate and Jack look at him the way you’d watch someone dancing on the deck of the Titanic. They’ll take their muted misery over the exhausting ecstasy of dating a woman who thinks Kenny Loggins is a type of sourdough. And who can blame them?

  • How Fake Food Mirrors AI Writing

    How Fake Food Mirrors AI Writing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • How to Teach Writing When Nobody Cares About Writing Anymore

    How to Teach Writing When Nobody Cares About Writing Anymore

    Standing in front of thirty bleary-eyed college students, I was deep into a lesson on how to distinguish a ChatGPT-generated essay from one written by an actual human—primarily by the AI’s habit of spitting out the same bland, overused phrases like a malfunctioning inspirational calendar. That’s when a business major casually raised his hand and said, “I can guarantee you everyone on this campus is using ChatGPT. We don’t use it straight-up. We just tweak a few sentences, paraphrase a bit, and boom—no one can tell the difference.”

    Cue the follow-up from a computer science student: “ChatGPT isn’t just for essays. It’s my life coach. I ask it about everything—career moves, crypto investments, even dating advice.” Dating advice. From ChatGPT. Let that sink in. Somewhere out there is a romance blossoming because of AI-generated pillow talk.

    At that moment, I realized I was facing the biggest educational disruption of my thirty-year teaching career. AI platforms like ChatGPT have three superpowers: insane convenience, instant accessibility, and lightning-fast speed. In a world where time is money and business documents don’t need to channel the spirit of James Baldwin, ChatGPT is already “good enough” for 95% of professional writing. And therein lies the rub—good enough.

    “Good enough” is the siren call of convenience. Picture this: You’ve just rolled out of bed, and you’re faced with two breakfast options. Breakfast #1 is a premade smoothie. It’s mediocre at best—mystery berries, more foam than a frat boy’s beer, and nutritional value that’s probably overstated. But hey, it’s there. No work required.

    Breakfast #2? Oh, it’s gourmet bliss—organic fruits and berries, rich Greek yogurt, chia seeds, almond milk, the works. But to get there, you’ll need to fend off orb spiders in your backyard, pick peaches and blackberries, endure the incessant yapping of your neighbor’s demonic Belgian dachshund, and then spend precious time blending and cleaning a Vitamix. Which option do most people choose?

    Exactly. Breakfast #1. The pre-packaged sludge wins, because who has the time for spider-wrangling and kitchen chemistry before braving rush-hour traffic? This is how convenience lures us into complacency. Sure, you sacrificed quality, but look how much time you saved! Eventually, you stop even missing the better option. This process—adjusting to mediocrity until you no longer care—is called attenuation.

    Now apply that to writing. Writing takes effort—a lot more than making a smoothie—and millions of people have begun lowering their standards thanks to AI. Why spend hours refining your prose when the world is perfectly happy to settle for algorithmically generated mediocrity? Polished writing is becoming the artisanal smoothie of communication—too much work for most, when AI can churn out passable content at the click of a button.

    But this is a nightmare for anyone in education. You didn’t sign up for teaching to coach your students into becoming connoisseurs of mediocrity. You had lofty ambitions—cultivating critical thinkers, wordsmiths, and rhetoricians with prose so sharp it could cut glass. But now? You’re stuck in a dystopia where “good enough” is the new gospel, and you’re about as on-brand as a poet peddling protein shakes at a multilevel marketing seminar.

    And there you are, gazing into the abyss of AI-generated essays—each one as lifeless as a department meeting on a Friday afternoon—wondering if anyone still remembers what good writing tastes like, let alone hungers for it. Spoiler alert: probably not.

    This is your challenge, your Everest of futility, your battle against the relentless tide of Mindless Ozempification. Life has oh-so-generously handed you this cosmic joke disguised as a teaching mission. So what’s your next move? You could curl up in the fetal position, weeping salty tears of despair into your syllabus. That’s one option. Or you could square your shoulders, roar your best primal scream, and fight like hell for the craft you once worshipped.

    Either way, the abyss is staring back, smirking, and waiting for your next move.

    So what’s the best move? Teach both languages. Show students how to use AI as a drafting tool, not a ghostwriter. Encourage them to treat ChatGPT like a calculator for prose—not a replacement for thinking, but an aid in shaping and refining their voice. Build assignments that require personal reflection, in-class writing, collaborative revision, and multimodal expression—tasks AI can mimic but not truly live. Don’t ban the bot. Co-opt it. Reclaim the standards of excellence by making students chase that gourmet smoothie—not because it’s easy, but because it tastes like something they actually made. The antidote to attenuation isn’t nostalgia or defeatism. It’s redesigning writing instruction to make real thinking indispensable again. If the abyss is staring back, then wink at it, sharpen your pen, and write something it couldn’t dare to fake.

  • Uncanny Valley Prose: Why Everything You Read Now Sounds Slightly Dead

    Uncanny Valley Prose: Why Everything You Read Now Sounds Slightly Dead

    Yesterday, I asked my students how AI is shaping their lives. The answer? They’re not just using it—they’re mainlining it. One student, a full-time accountant, told me she relies on ChatGPT Plus not only to crank out vendor emails and fine-tune her accounting homework but also to soothe her existential dread. She even introduced me to her AI therapist, a calm, reassuring voice named Charles. Right there in class, she pulled out her phone and said, “Charles, I’m nervous about McMahon’s writing class. What do I do?” Charles—an oracle in a smartphone—whispered affirmations back at her like a velvet-voiced life coach. She smiled. I shuddered. The age of emotional outsourcing is here, and Charles is just the beginning.

    Victoria Turk’s “The Great Language Flattening” captures this moment with unnerving clarity: AI has seized the global keyboard. It’s not just drafting high school essays or greasing the wheels of college plagiarism—it’s composing résumés, memos, love letters, apology emails, vision statements, divorce petitions, and maybe the occasional haiku. Thanks to AI’s knack for generating prose in bulk, the world is now awash in what I call The Bloated Effect: overcooked, overwritten, and dripping with unnecessary flair. If verbosity were currency, we’d all be trillionaires of fluff.

    But bloat is just the appetizer. The main course is The Homogenization Effect—our collective descent into stylistic conformity. AI-generated writing has a tone, and it’s everywhere: politely upbeat, noncommittally wise, and as flavorful as a rice cake dipped in lukewarm chamomile. Linguist Philip Seargeant calls it the Uncanny Valley of Prose—writing that looks human until you actually read it. It’s not offensive, it’s just eerily bloodless. You can feel the algorithm trying to sound like someone who’s read too many airport self-help books and never had a real conversation.

    Naturally, there will be a backlash. A rebellion of ink-stained fingers and dog-eared yellow legal pads. Safety away from computers, we’ll smuggle our prose past the algorithmic overlords, draft manifestos in cafés, and post screenshots of AI-free writing like badges of authenticity. Maybe we’ll become cult heroes for writing with our own brains. I admit, I fantasize about this. Because when I think of the flattening of language, I think of “Joan Is Awful”—that Black Mirror gem where Salma Hayek licenses her face to a streaming platform that deepfakes her into oblivion. If everyone looks like Salma, then no one is beautiful. AI is the Salma Clone Generator of language: it replicates what once had soul, until all that’s left is polished sameness. Welcome to the hellscape of Uncanny Valley—brought to you by WordCount™, optimized for mass consumption.

  • If we’re looking for a role model in the art of the blog, look no further than Blaise Pascal

    If we’re looking for a role model in the art of the blog, look no further than Blaise Pascal

    Walter Mosley, like many literary heavyweights, delivers the old warhorse of writing advice: write every damn day. Rain or shine, joy or existential despair, sit down and put words on the page. It’s less about inspiration than it is about keeping the creative battery from corroding in the garage while your ambitions collect dust. Steven Pressfield echoed this doctrine in The War of Art, a self-help sermon for writers who need a firm kick in the discipline.

    But daily writing in the digital age isn’t what it used to be. Now it comes with a side of existential nausea. The modern writer doesn’t just write—they publish. Immediately. Publicly. Desperately. A blog here, a TikTok monologue there, and boom—you’re not creating, you’re performing. You’re not nurturing your authentic voice; you’re pumping caffeine into your avatar and hoping the algorithm throws you a bone. And let’s be clear: the algorithm rewards extremity, outrage, and theater. The bigger the spectacle, the better the reach. Welcome to the Faustian Bargain of digital authorship.

    In this deal with the devil, we don’t trade our souls for knowledge—we trade nuance for engagement. We sculpt our “brand” to fit the machine. Our subject matter isn’t what haunts us—it’s what trends. Our tone isn’t our voice—it’s caffeinated shouting with a faux-therapist smile. We might monetize. We might even go viral. But then what? We’ve spent our creative life howling into a dopamine feedback loop. Is this writing? Or is it a slow, glittery death of the self?

    To be clear, branding isn’t inherently evil. Mark Leyner is a brand. So is Annie Dillard, Toni Morrison, and T.C. Boyle. Their work pulses with personality—yes—but also rigor, substance, and voice. They didn’t let style drown out content. They didn’t slap their face on a thumbnail and shout into the void about “7 Ways to Hack Your Purpose.” Influencers, on the other hand, are often pure surface: style with no skeleton, affect with no architecture.

    So what happens if you’re writing online without chasing likes, shares, or ad revenue? Are you just journaling in public? Writing as catharsis masquerading as productivity? Possibly. But that’s not inherently shameful. Writing as therapy is fine—as long as it’s therapy with syntax. Catharsis isn’t the enemy; incoherence is. Even in the trenches of personal expression, we owe our readers (and ourselves) clarity, pace, and craft.

    If we’re looking for a role model in the art of the blog, look no further than Blaise Pascal. His Pensées—a blog centuries ahead of its time—is a fragmented, pithy, and piercing meditation on the human condition. Each entry was brisk, barbed, and brimming with insight. He didn’t need an algorithm. He had a point of view.

    In this sense, blogging today can be a return to Pascal, not a descent into performance art. A blog can be a sketchbook of thought, a lab for style, a home for unfinished beauty. But only if we resist the pull of artificial relevance and write for something—anything—more enduring than a trending sound clip.

  • The Future of Writing in the Age of A.I.: A College Essay Prompt

    The Future of Writing in the Age of A.I.: A College Essay Prompt

    INTRODUCTION & CONTEXT
    In the not-so-distant past, writing was a slow, solitary act—a process that demanded time, introspection, and labor. But with the rise of generative AI tools like ChatGPT, Sudowrite, and GrammarlyGO, composition now has a button. Language can be mass-produced at scale, tuned to sound pleasant, neutral, polite—and eerily interchangeable. What once felt personal and arduous is now instantaneous and oddly soulless.

    In “The Great Language Flattening,” Victoria Turk argues that A.I. is training us to speak and write in “saccharine, sterile, synthetic” prose. She warns that our desire to optimize communication has come at the expense of voice, friction, and even individuality. Similarly, Cal Newport’s “What Kind of Writer is ChatGPT?” insists that while A.I. tools may mimic surface-level structure, they lack the “struggle” that gives rise to genuine insight. Their words float, untethered by thought, context, or consequences.

    But are these critiques overblown? In “ChatGPT Doesn’t Have to Ruin College,” Tyler Austin Harper suggests that the real danger isn’t A.I.—it’s a pedagogical failure. Writing assignments that can be done by A.I. were never meaningful to begin with. Harper argues that educators should double down on originality, reflection, and assignments that resist automation. Meanwhile, in “Will the Humanities Survive Artificial Intelligence?,” the author explores the institutional panic: as machine-generated writing becomes the norm, will critical thinking and close reading—the bedrock of the humanities—be considered obsolete?

    Adding complexity to this discussion, Lila Shroff’s “The Gen Z Lifestyle Subsidy” examines how young people increasingly outsource tasks once seen as rites of passage—cooking, cleaning, dating, even thinking. Is using A.I. to write your essay any different from using DoorDash to eat, Bumble to flirt, or TikTok to learn? And in “Why Even Try If You Have A.I.?,” Joshua Rothman diagnoses a deeper ennui: if machines can do everything better, faster, and cheaper—why struggle at all? What, if anything, is the value of effort in an automated world?

    This prompt asks you to grapple with a provocative and unavoidable question: What is the future of human writing in an age when machines can write for us?


    ASSIGNMENT INSTRUCTIONS

    Write a 1,700 word argumentative essay that answers the following question:

    Should the rise of generative A.I. mark the end of traditional writing instruction—or should it inspire us to reinvent writing as a deeply human, irreplaceable act?

    You must take a clear position on this question and argue it persuasively using at least four of the assigned readings. You are also encouraged to draw on personal experience, classroom observations, or examples from digital culture, but your essay must engage with the ideas and arguments presented in the texts.


    STRUCTURE AND EXPECTATIONS

    Your essay should include the following sections:


    I. INTRODUCTION (Approx. 300 words)

    • Hook your reader with a compelling anecdote, statistic, or image from your own experience with A.I. (e.g., using ChatGPT to brainstorm, cheating, rewriting, etc.).
    • Briefly introduce the conversation surrounding A.I. and the act of writing. Frame the debate: Is writing becoming obsolete? Or is it being reborn?
    • End with a sharply focused thesis that takes a clear, defensible position on the prompt.

    Sample thesis:

    While A.I. can generate fluent prose, it cannot replicate the messiness, insight, and moral weight of human writing—therefore, the role of writing instruction should not be reduced, but radically reinvented to prioritize voice, thought, and originality.


    II. BACKGROUND AND DEFINITIONAL FRAMING (Approx. 250

    • Define key terms like “generative A.I.,” “writing instruction,” and “voice.” Be precise.
    • Briefly explain how generative A.I. systems (like ChatGPT) work and how they are currently being used in educational and workplace settings.
    • Set up the stakes: Why does this conversation matter? What do we lose (or gain) if writing becomes largely machine-generated?

    III. ARGUMENT #1 – A.I. Is Flattening Language (Approx. 300 words)

    • Engage deeply with “The Great Language Flattening” by Victoria Turk.
    • Analyze how A.I.-generated language may lead to a homogenization of voice, tone, and personality.
    • Provide examples—either from your own experiments with A.I. or from the essay—that illustrate this flattening.
    • Connect to Newport’s argument: If writing becomes too “safe,” does it also become meaningless?

    IV. ARGUMENT #2 – The Need for Reinvention, Not Abandonment (Approx. 300 words)

    • Use Harper’s “ChatGPT Doesn’t Have to Ruin College” and the humanities-focused essay to argue that A.I. doesn’t spell the death of writing—it exposes the weakness of uninspired assignments.
    • Defend the idea that writing pedagogy should evolve by embracing personal narratives, critical analysis, and rhetorical complexity—tasks that A.I. can’t perform well (yet).
    • Address the counterpoint that some students prefer to use A.I. out of necessity, not laziness (e.g., time constraints, language barriers).

    V. ARGUMENT #3 – A Culture of Outsourcing (Approx. 300 words)

    • Bring in Lila Shroff’s “The Gen Z Lifestyle Subsidy” to examine the cultural shift toward convenience, automation, and outsourcing.
    • Ask the difficult question: If we already outsource our food, our shopping, our dates, and even our emotions (via TikTok), isn’t outsourcing our writing the logical next step?
    • Argue whether this mindset is sustainable—or whether it erodes something essential to human development and self-expression.

    VI. ARGUMENT #4 – Why Write at All? (Approx. 300  words)

    • Engage with Joshua Rothman’s existential meditation on motivation in “Why Even Try If You Have A.I.?”
    • Discuss the psychological toll of competing with A.I.—and whether effort still has value in an age of frictionless automation.
    • Make the case for writing as not just a skill, but a process of becoming: intellectual, emotional, and ethical maturation.

    VII. COUNTERARGUMENT AND REBUTTAL (Approx. 250  words)

    • Consider the argument that A.I. tools democratize writing by making it easier for non-native speakers, neurodiverse students, and time-strapped workers.
    • Acknowledge the appeal and utility of A.I. assistance.
    • Then rebut: Can ease and access coexist with depth and authenticity? Where is the line between tool and crutch? What happens when we no longer need to wrestle with words?

    VIII. CONCLUSION (Approx. 200 words)

    • Revisit your thesis in a way that reflects the journey of your argument.
    • Reflect on your own evolving relationship with writing and A.I.
    • Offer a call to action for educators, institutions, or individuals: What kind of writers—and thinkers—do we want to become in the A.I. age?

    REQUIREMENTS CHECKLIST

    • Word Count: 1,700 words
    • Minimum of four cited sources from the six assigned
    • Direct quotes and/or paraphrases with MLA-style in-text citations
    • Works Cited page using MLA format
    • Clear argumentative thesis
    • At least one counterargument with a rebuttal
    • Original title that reflects your position

    ESSAY EVALUATION RUBRIC (Simplified)

    CRITERIADESCRIPTION
    Thesis & ArgumentStrong, debatable thesis; clear stance maintained throughout
    Use of SourcesEffective integration of at least four assigned texts; accurate and meaningful engagement with the ideas presented
    Organization & FlowLogical structure; strong transitions; each paragraph develops a single, coherent idea
    Voice & StyleClear, vivid prose with a balance of analytical and personal voice
    Depth of ThoughtInsightful analysis; complex thinking; engagement with nuance and counterpoints
    Mechanics & MLA FormattingCorrect grammar, punctuation, and MLA citations; properly formatted Works Cited page
    Word CountMeets or exceeds minimum word requirement

    MLA Citations (Works Cited Format):

    Turk, Victoria. “The Great Language Flattening.” Wired, Condé Nast, 21 Apr. 2023, www.wired.com/story/the-great-language-flattening/.

    Harper, Tyler Austin. “ChatGPT Doesn’t Have to Ruin College.” The Atlantic, Atlantic Media Company, 27 Jan. 2023, www.theatlantic.com/technology/archive/2023/01/chatgpt-college-students-ai-writing/672879/.

    Shroff, Lila. “The Gen Z Lifestyle Subsidy.” The Cut, New York Media, 25 Oct. 2023, www.thecut.com/article/gen-z-lifestyle-subsidy-tiktok.html.

    Burnett, D. Graham. “Will the Humanities Survive Artificial Intelligence?” The New York Review of Books, 8 Feb. 2024, www.nybooks.com/articles/2024/02/08/will-the-humanities-survive-artificial-intelligence-burnett/.

    Newport, Cal. “What Kind of Writer Is ChatGPT?” The New Yorker, Condé Nast, 16 Jan. 2023, www.newyorker.com/news/essay/what-kind-of-writer-is-chatgpt.

    Rothman, Joshua. “Why Even Try If You Have A.I.?” The New Yorker, Condé Nast, 10 July 2023, www.newyorker.com/magazine/2023/07/10/why-even-try-if-you-have-ai.


    OPTIONAL DISCUSSION STARTERS FOR CLASSROOM USE

    To help students brainstorm and debate, consider using the following prompts in small groups or class discussions:

    1. Is it “cheating” to use A.I. if the result is better than what you could write on your own?
    2. Have you ever used A.I. to help write something? Were you satisfied—or unsettled?
    3. If everyone uses A.I. to write, will “good writing” become meaningless?
    4. Should English professors teach students how to use A.I. ethically, or ban it outright?
    5. What makes writing feel human?
  • Rewind, Delete, Regret: The Cost of Editing Love

    Rewind, Delete, Regret: The Cost of Editing Love

    Eternal Sunshine of the Spotless Mind and Black Mirror’s The Entire History of You are thematically bound by a shared anxiety: the dangerous seduction of technological control over memory. In Eternal Sunshine, memory erasure is marketed as emotional liberation—a clean slate for the brokenhearted. Similarly, in “The Entire History of You,” the brain-implanted “grain” promises perfect recall, total clarity, and the ability to replay moments with photographic precision. Both stories probe a fundamental question: if we could edit our pasts—delete pain, scrutinize joy, control the narrative—would we be better off, or would we unravel?

    Both works reveal that tampering with memory doesn’t resolve emotional suffering; it distorts and magnifies it. In Eternal Sunshine, Joel and Clementine attempt to erase each other, only to circle back into the same patterns of love, longing, and dysfunction. Their emotional chemistry survives the purge, suggesting that memory is not simply data but something embedded in identity, instinct, and the soul. “The Entire History of You” flips the dynamic: instead of forgetting, the characters remember too much. Liam’s obsessive rewinding of moments with his wife becomes a self-inflicted wound, each replay deepening his paranoia and unraveling his sense of reality. The technology doesn’t heal him—it traps him in a recursive loop of doubt and resentment.

    The irony in both narratives is that the human mind, with all its flaws—forgetfulness, bias, emotional haze—is actually what allows us to forgive, to grow, to love again. Eternal Sunshine presents memory loss as a form of mercy, but ultimately asserts that pain and connection are inseparable. The Entire History of You warns that perfect memory is no better; it turns love into surveillance, and intimacy into evidence. In both cases, technology doesn’t enhance humanity—it reveals its brittleness. It offers a fantasy of control over the uncontrollable: the messiness of relationships, the ambiguity of feelings, the inevitability of loss.

    Thus, Eternal Sunshine serves as a philosophical and emotional precursor to “The Entire History of You.” Where one is melancholic and lyrical, the other is clinical and chilling—but both reach the same conclusion: to be human is to remember imperfectly. Whether we erase the past or obsessively relive it, we risk losing what actually makes relationships meaningful—our capacity to feel, forget, forgive, and fumble our way forward. Memory, in both stories, is less about accuracy than emotional truth—and trying to mechanize that truth leads only to alienation.

  • The Design Space Is Shrinking: How A.I. Trains Us to Stop Trying

    The Design Space Is Shrinking: How A.I. Trains Us to Stop Trying

    New Yorker writer Joshua Rothman asks the question that haunts every creative in the age of algorithmic assistance: Why even try if A.I. can do it for you?
    His essay  “Why Even Try If You Have A.I.?”unpacks a cultural crossroads: we can be passive passengers on an automated flight to mediocrity, or we can grab the yoke, face the headwinds, and fly the damn plane ourselves. The latter takes effort and agency. The former? Just surrender, recline your seat, and trust the software.

    Rothman begins with a deceptively simple truth: human excellence is born through repetition and variation. Take a piano sonata. Play it every day and it evolves—new inflections emerge, tempo shifts, harmonies stretch and bend. The music becomes yours not because it’s perfect, but because it’s lived. This principle holds across any discipline: cooking, lifting, writing, woodworking, improv jazz. The point isn’t to chase perfection, but to expand what engineers call your “design space”—the evolving terrain of mastery passed from one generation to the next. It’s how we adapt, create, and flourish. Variation, not polish, is the currency of human survival.

    A.I. disrupts that process. Not through catastrophe, but convenience. It lifts the burden of repetition, which sounds like mercy, but may be slow annihilation. Why wrestle with phrasing when a chatbot can generate ten variations in a second? Why compose from scratch when you can scroll through synthetic riffs until one sounds “good enough”? At some point, you’re not a creator—you’re a casting agent, auditioning content for a machine-written reality show.

    This is the creep of A.I.—not Terminator-style annihilation, but frictionless delegation.
    Repetition gets replaced by selection. Cognitive strain is erased. The design space—the sacred ground of human flourishing—gets paved over with one-size-fits-all templates. And we love it, because it’s easy.

    Take car shopping. Do I really want to endure a gauntlet of slick-haired salesmen and endless test drives? Or would I rather ask ChatGPT to confirm what I already believe—that the 2025 Honda Accord Hybrid Touring is the best sedan under 40K, and that metallic eggshell is obviously the right color for my soulful-but-sensible lifestyle?
    A.I. doesn’t challenge me. It affirms me, reflects me, flatters me. That’s the trap.

    But here’s where I resist: I’m 63, and I still train like a lunatic in my garage with kettlebells five days a week. No algorithm writes my workouts. I improvise like a jazz drummer on creatine—Workout A (heavy), Workout B (medium), Workout C (light). It’s messy, adaptive, and real. I rely on sweat, not suggestions. Pain is the feedback loop. Soreness is the algorithm.

    Same goes for piano. Every day, I sit and play. Some pieces have taken a decade to shape. A.I. can’t help here—not meaningfully. Because writing music isn’t about what works. It’s about what moves. And that takes time. Revision. Tension. Discomfort.

    That said, I’ve made peace with the fact that A.I. is to writing what steroids are to a bodybuilder. I like to think I’ve got a decent handle on rhetoric—my tone, my voice, my structure, my knack for crafting an argument. But let’s not kid ourselves: I’ve run my prose against ChatGPT, and in more than a few rounds, it’s left me eating dust. Without A.I., I’m a natural bodybuilder—posing clean, proud, and underwhelming. With A.I., I’m a chemically enhanced colossus, veins bulging with metaphor and syntax so tight it could cut glass. In the literary arena, if the choice is between my authentic, mortal self and the algorithmic beast? Hand me the syringe. I’ll flex with the machine.

    Still, I know the difference. And knowing the difference is everything.

  • If You Only Watch One Black Mirror episode, Let It Be “Joan Is Awful”

    If You Only Watch One Black Mirror episode, Let It Be “Joan Is Awful”

    If you only watch one episode of Black Mirror, let it be Joan Is Awful—especially if you have a low tolerance for tech-dystopian fever dreams involving eye-implants, social scores, or digital consciousness uploaded to bees. This one doesn’t take place in a dark tomorrow—it’s about the pathology of right now. It skewers the Curated Era we already live in, where selfhood has been gamified, privacy is casually torched, and we’re all trapped in the compulsion to turn our lives into content—often awful, but clickable content.

    Joan, the title character, is painfully ordinary: a mid-level tech worker trying to swap out one man (her manic ex) for another (her milquetoast fiancé) and coast into a life of retail therapy and artisanal beverages. Her existence—Instagrammable, calibrated, aggressively average—is exactly the kind of raw material the in-universe Netflix clone Streamberry is looking for. They turn her life into a show called “Joan Is Awful,” starring a CGI deepfake Salma Hayek version of Joan, who reenacts her life with heightened melodrama and algorithmically-optimized awfulness.

    This isn’t speculative fiction. It’s just fiction.
    Streamberry’s vision of a personalized show for everyone—one that amplifies your worst traits and pushes them out for mass consumption—is barely an exaggeration of what Instagram, TikTok, and YouTube are already doing. We’ve all become our own showrunners, stylists, and publicists. Every TikTok tantrum and curated dinner plate is an audition for relevance, and the platforms reward us for veering into the grotesque. The more unhinged you become, the more “engagement” you earn.

    “Joan Is Awful” works both as a laugh-out-loud satire and as a metaphysical gut-punch. It invites us to contemplate the slippery nature of selfhood under surveillance capitalism. At its core is the concept of “Fiction Level 1”: the dramatized version of Joan’s life generated by AI, crafted from data scraped from her phone, her apps, her browsing history. Joan doesn’t write the script. She doesn’t even get to protest. She’s just the original dataset—fodder for narrative extraction. Her real self is mined, exaggerated, and repackaged for mass appeal.

    Sound familiar?

    In the real world, we all star in our own low-budget version of “Joan Is Awful,” plastered across social media feeds. These platforms don’t need deepfakes. We willingly create them, editing ourselves into marketable parodies. We offer up a polished persona while our actual selves starve for air—authenticity traded for audience, spontaneity traded for algorithmic approval.

    You can enjoy “Joan Is Awful” as slick satire or you can unpack its metafictional mind games—it rewards both approaches. Either way, it’s easily one of Black Mirror’s top-tier episodes, alongside “Nosedive,” “Rachel, Jack and Ashley Too,” and “Smithereens.” It’s not science fiction. It’s just a very well-lit mirror.