Attending an all-boys school felt like prison. Read my latest on Splice Today:

Today, I was advised to get an editing and proofreading certification from one of the many professional associations available to show potential clients that I am all business and not, as one would otherwise assume, a crank. Three decades of professional writing, editing-for-hire, and proofreading won’t do it. The representative who cold-emailed me on social media made it very clear that no matter how good I think I am, no one will take me seriously unless I’m professionally certified. Luckily, she discovered me in time.
When I asked her if board certification exists for copy editors and proofers, she didn’t respond. I’m still waiting, but I know the answer. With a website, a PayPal account, and a fictious business name, you can establish a certification program for anything obscure and unregulated, say, antelope sign language. You can then offer membership in a professional society based on your courses and the money flows in like sweet milk from heaven when people called to interpret for deaf antelopes feel insecure and go looking for a stamp of approval.
You’ll pitch your service to the rubes with a great convincer: “Since there are no objective, widely accepted standards for professionalism in antelope sign language, you need our very formal, suitable-for-framing certificate to set you apart from all the dilettante competitors and desperate poseurs trying to steal your business. You need this.” I recognized the come-on immediately. It’s how you sell a diet supplement, a tinfoil orgone collection helmet, a Learn Fluent Inuit in 20 Minutes-a-Day DVD set, or a religion. You define the subject matter, identify the anxiety it produces, and offer a solution.
New religions always do this, since their subject matter is and must always be vague. At a science fiction convention in 1948, L. Ron Hubbard is supposed to have said, “Writing for a penny a word is ridiculous. If a man really wants to make a million dollars, the best way would be to start his own religion.” Like most of Hubbard’s material, it seems to have been cribbed from other sources—in this case from a letter written by George Orwell in his multivolume Collected Essays, Journalism, and Letters. But the principle is sound. Give people something in which they can believe and posit yourself as its source or sole mouthpiece.
Interestingly, the Orwell-Hubbard dates may not match up. Multiple volumes of Orwell’s collected works were released in the 1960s and, though it’s obvious earlier collections existed, it’s unclear which Orwell resources would have been available to Hubbard in the late 1940s while he was busy doing ceremonial magic in the desert with Jack Parsons and seducing Parsons’ girlfriend. But we do know that, by 1948, Hubbard had left Parsons and overt occultism behind, well on his way to following through on his million-dollar scheme.
No matter how many conventions Hubbard attended, boats he owned, and storefront e-meter salons he opened, the comment about starting one’s own religion would follow him for the rest of his life and hang over his grave like a feculent mist. Orwellian cynicism has always seemed perfect for the Church of Scientology. The organization has appeared, at least since the early ’70s, much more interested in abusive litigation with a side of organized crime than in any sort of enlightenment or spirituality.
Still, America loves a new religion, the sillier and more coercive the better. Americans will love it twice as much if the guru requires lavish compensation for his wisdom. It’s one of the perennial obsessions at the heart of the culture: we’re all looking for Jesus the Businessman, whether he comes as a computer inventor, an online bookseller, or an electric-car spaceship fetishist. The more he up-sells us and demands to be loved for it, the more we’ll celebrate him. If he can do this and offer us certificated in-group status, we’ll make him a fixture in our lives.
We want to be saved by someone who shares our values: money, cleverness, exclusivity, salesmanship, and the sado-masochism of the workplace as spiritual praxis. It’s the reason why, at one point, Oprah commanded the reasoning and libido of 51% of the population, why Bezos’ Blue Origin rocket looks like a giant dildo, and why graffiti near 1 Infinite Loop in Cupertino, California, used to read “Steve Died for Your Sins.” He unquestionably did.
But there’s an even deeper reason Hubbard and comparable messiah figures are able to operate until they go out of fashion and either become despised by the crowd that once adored them or go insane: no one has any stable concept of what’s real, including the gurus themselves. They’re making up the landmarks and mapping the terrain as they go along.
In fact, the fluidity of unreality, virtual reality, meta-reality, fandom, curated identity, and the floating demimonde of the so-called “knowledge marketplace” underlying these things is so popular and ubiquitous that it has become more convincing than religion ever was. We’re looking for the next lifehack, supplement, or belief system to stave off our perpetual nervous breakdown because we have no idea what’s going on. Sign me up. Get my Level 1 Proofreader’s Certificate and Associate Membership Card.
Black Mirror, Ready Player One, and The Matrix are horrifying mostly due to what they imply about this desperate capacity to turn anything into religion, even down to the most banal and mechanistic corporate sensibilities. And pandemic lockdown culture has not helped. When Covid spread across Asia, I was living in Bangkok and noticed a line of herbal supplements being marketed in the malls by a popular Indian guru as protection against the disease. The layout was very glossy. There were life-sized cardboard standups of the smiling guru presenting his product at pharmacy endcaps. People were buying it because they didn’t know what was real. The guru was defining the problem and offering a solution. L. Ron Hubbard would have loved Covid-19.
As Mencken put it, “There is nothing in religious ideas, as a class, to lift them above other ideas. On the contrary, they are always dubious and often quite silly. Nor is there any visible intellectual dignity in theologians. Few of them know anything that is worth knowing, and not many of them are even honest.” But what they offer is certitude and certification in an uncertain, uncertificated world.

I rewatched Interview with the Vampire last night and it just doesn’t seem dark enough. Maybe that’s a reflection of how my emotional self has darkened after Covid, rapacious politics, and so much social turmoil. But it seems to me that the story, the myth, of the vampire is dangerous because it is Dionysian and feral. It has to be dark. It has to flirt with real evil and suffering.
Interview is too tame, too inhibited. It tries to show evil but it stops at longing for redemption. There has to be heartbroken bitterness (Lestat pretends to be bitter, but he’s just bored and infatuated). And that bitterness has to become so intense that it doubles over into malice. Then we have something. That would be a vampire story fit for 2021.
Anne Rice (who became a super-Christian) thought of the vampire more the way Mary Shelley thought of Frankenstein’s monster: a messianic anti-hero. That’s great. But Rice didn’t come up with the vampire mythos. And when you make a vampire movie, it goes beyond your particular ideas into the greater mythic paradigm that contains all vampire symbolism and stories, especially those of the vampire as a 19th century expression of human suffering and desire, a twisted reaction to the oppressive side of industrial capitalism.
Romance, blood, eternal life, its price, and its consequences only come with the darkening of the world—a rejection of daylight, machines, industry, and Protestant ideas of clean living. The vampire seems like an embodiment of Victorian longing for nature, for Pan, for the Wordsworthian overflow of feelings denied by the western progress narrative and cynical social Darwinism. And so you only get the vampire if you’re willing to accept a certain amount of darkness and violence. It’s why you traditionally have to invite the vampire over your threshold. It has to be your choice to let the darkness in. Of course, you might turn into a rotting corpse or a raving madman like Dracula’s R. M. Renfield. But nothing comes for free in this mythology.
I guess most of us are over messiahs and redemption narratives these days. I think I definitely am. I don’t care about being brought back into the great huddled mass with its dead gods. Maybe I’m looking for a different sort of vampire tale, not one born in the lingering optimism of Anne Rice’s 1990s pre-Christian return. Suffering. Darkness. The Eleusinian Mysteries come around again in a story drenched in blood and derangement. Joaquin Phoenix’s Joker. That’s where it is for me these days. The vampire archetype still matters, but it goes a lot deeper and gets a lot more disturbing than sexy-but-guilty anti-heroes in velvet, tormented by their otherness, seeking some kind of reintegration into banal conformist culture.