Eating

Everything eats.  That’s not the problem.  The problem starts with what lies beyond that fact.  And there’s no solution: what we don’t consume has no value.  What has no value does not exist.  Consider the cafeteria.  I’m sitting in it with my friend, Hector, facing the conundrum of life over mashed potatoes and meatloaf for him, a boxed ham sandwich for me.  Who are we to complain?  It’s not horrible food.  It’s edible.  Kind of stiff.  A little stale.  Somewhat undercooked.  But don’t cry for me, Argentina, it’s a campus lunch.  If it goes down and stays put, I’ll bow in gratitude to the bounty of celestial providence.

“That’s a dry sandwich,” says Hector.

Yes.  I know.  I’m eating it.  “Those potatoes look runny.”

He nods slowly, regarding his mashed potatoes the way one views an autopsy subject.  Damn shame, such violence.  But at least it’s not a dry sandwich out of a plastic box.  He got his meatloaf and potatoes from the food line, ladled out of a metal tray like in every prison movie right before the commissary riot.  Greasy steam rises from the food-line entrées and they never smell good.  Runny potatoes.  Feral carrots.  Dubious peas.  Condemned meatloaf.  Overcooked bok choy in a forlorn soy sauce.  Bricks of peaked mac and cheese so dense they have to be chipped off with the tip of the spatula.  I’ll suffer the dry sandwich, thanks.

Hector and I meet in the campus cafeteria about once a month, ostensibly to discuss the renovations being done to the building where I work, but in reality just to insult each other’s food choices and make disparaging comments about the students.

“Look at them snakes,” he says as two undergrads dressed like ice cream cones float by.  Not actual ice cream cones; though, I’ve seen that and many comparable absurdities on this campus, but looking like they just went nuts at a discount white sale in June.  Something out of the director’s cut of Zardoz—new age Egyptizoid background extras in a dystopian shopping mall, while Sean Connery runs around in a red diaper shooting people.  The one wearing a huge amethyst pendant glares at us.

The gun is good, I think to myself, but I don’t say it because Hector won’t get the reference and anyway he’s still going on about them snakes.

“We didn’t see snakes like that when we were in college, am I right?”

Hector’s a large man, completely bald, and, as far as I know, has been faithful to his wife for 25 years.  But he talks like he’s still working on gen ed requirements and an internship.  College females are “snakes.”  College guys are invisible.  The university is “this shit,” as in, “This shit wants me to supervise over Christmas to make sure the HVAC gets in.  Can you believe it?”

I can believe this shit.

“Snakes like that—it’s the social media, okay?  The TikTok.”

“Chinese spyware.”

“China don’t care,” he says.  “Look at them robes.  They look like Stargate.  Leisure studies majors.  You think China cares about leisure studies majors?  That ham’s killing you by inches, brother.”

“China wants me to eat this ham.”

He frowns at my sandwich, cuts into the meatloaf slab with his plastic fork.  “That’s not even ham.”

I came to this job over two years ago because I was starving.  Let’s not say, “starving.”  Let’s say facing the prospect, such that boxed cafeteria lunches came to seem like mana from on high.  My old life got invalidated by a bat virus doing what it was engineered to do—eat.  The freefall unreality of the pandemic, where going to the grocery store felt like dicing with death, ate my finances.  I didn’t like how broke I got, how politicized everything got, didn’t feel like the virus cared much about feelings, opinions, theories, or rent.

All I knew was that, when I got Covid, it was the worst flu of my life.  I hallucinated conversations with dead people, ancestors, goddesses, spent a few weeks in a delirium where I thought I was probably going to die, then managed not to.  After it cleared up, I found a job on campus—not the university teaching job I’d always wanted, but still.  Still.

“That meatloaf looks more loaf than meat.”

“Cute.  This fantastic repast is straight from heaven.”

“Send it back.  Make god eat it.”

“Don’t blaspheme.”

And now, a new life of blasphemy and snakes.  As Dante wrote in La Vita Nuova, “If I bethought myself to seek out some point at the which all these paths might be found to meet, I discerned but one way, and that irked me; to wit, to call upon Pity, and to commend myself unto her.”  Those of us who lived through the pandemic will never know why we did while others didn’t.  All we know is that chance or fate took pity on us so that we could sit on college campuses and watch self-conscious children glare and parade around in costumes.

“If I tabulate all the money I’ve spent on bad campus food, it’s like I’m giving back my paychecks.”

“That’s what you do,” he says.  “They give you money.  You give it back.  They give you things.  You eat them.”

On that note, we do.  Perhaps, as we consume our vital sustenance, we ask ourselves what we’re feeling.  Perhaps, as we are sensitive individuals, in touch with our emotions, we turn inward as we eat, content to probe the range of personal meaning inherent in the act.  Or maybe we just shovel it down as quickly as possible.  I set the last quarter of my ham sandwich aside.  It is truly dry and I didn’t get anything to drink.

“Linda says she thinks she might be a lesbian.”  Hector stares across the cafeteria, through the beige wall, over the landscape, beyond at least one ocean, at an image in a distant land that holds the truth of that statement.  Maybe a better meatloaf.  He puts the last chunk in his mouth and chews.

“You getting a divorce?’

“Maybe.  She said don’t worry, though.  Right now, it’s just a thought she’s having.”

Two boys with skateboards sit at the table in front of us.  They don’t have any food.  And I wonder why they’re here, why, of all places they could go, they’ve chosen a space that smells like rancid creamed corn and burned toast.

“Thoughts are just thoughts.”

“Yeah,” he says.  “Exactly.”

I look at the scar that runs up his right forearm, perfectly dividing the sun tarot card tattoo surrounded by cherry blossoms.  I look at the red-and-white Aloha shirt and the heavy gold chain he wears on the outside of his black undershirt so it will stand out in the “V.”  And I think sometimes I must not be the loneliest person on campus.

Hector and I are both 30 years older than these students.  We’re in the gray area, marked “staff.”  We’re not on the academic food chain.  We don’t consume.  We are not consumed.  We merely facilitate the consumption.  And that which is not consumed cannot exist.  We’re ghosts.

A couple dressed in skin-tight gym wear starts to make out at one of the central tables and everyone in the cafeteria stares, but only for a moment.  It’s a new life, I think, a new world.  It intersects my old, dead middle-aged life that barely sustains, that nobody wants, that tastes like something from a cafeteria food line.  Hector stares a little longer then looks over at the last of my sandwich.

“You gonna eat that?”

I tell him no and he picks it up with two fingers, puts it in his mouth.

“Peace,” he says, still chewing.  “Stay healthy.”

I wave and watch him move toward the door, a foot taller and two wider than everyone present.  No one looks at him.  He’s not an entrée.

I sit there for the remainder of my lunch, empty plates in front of me, watching young love in action.  The outer part of me wants to feel contempt for them doing that in public, but when I ask myself what I’m feeling, I have to remember to be grateful.  I’m alive.  I’m still here, for what it’s worth.  I still get a boxed sandwich, a little more time, and a table off to the side.

Digging to China: Utopias Always Become Nightmares

 

One of my favorite Johnny Cash songs is his cover of Porter Wagoner’s “Satisfied Mind.”  The refrain goes like this:

How many times have
You heard someone say
If I had his money,
I could do things my way

But little they know
That it’s so hard to find
One rich man in ten
With a satisfied mind.

It’s very country and it rests on the country music genre cliché of human relationships being more valuable than wealth, status, and power.  It also makes me think of Simon and Garfunkel’s “Richard Cory,” from Sounds of Silence, which was the first time I encountered the idea in music outside my uncle’s self-produced country albums.  Richard Cory has everything, then shoots himself, yet the impoverished speaker in the song continues to envy him.  They’re both good songs.  They both carry a timeworn message in popular music: money can’t buy love.

Still, as a cynical friend of mine has pointed out more than once, it may be true that money can’t buy love, but it can buy travel, leisure, interesting rich-person adventures (vs. the poor-person variety), politeness, serenity, entertainment, granite countertops, educational opportunities, good food, access to the gifted and fascinating, and quality healthcare, which in the aggregate starts to look a lot like love.  Love of the world.  Love of life.  Love of fate.  Amor fati.

It’s easy to love what your life has become when you can do things your way.  Oh Allfather Zod, I don’t often pray to you (because why?  I have a shit ton of money), but I’m here at your subterranean temple of fire and perdition on Zodsday, just like last year, to recite my only prayer: DON’T CHANGE A THING.  Amor fati, you know?  I’m good.  You do you.

The rest of us will have to sacrifice two blocks of insect-soy protein at the altar of the Allfather on a regular basis or our paranoid, sadistic deity will smite us.  We may ask ourselves why the Sam Bankman-Frieds, Martin Shkrelis, and Anna Sorokins of the world have millions (ostensibly there are many, or at least some, of these individuals who have not yet been indicted), while we labor in Zod’s gulag, but that’s asking the wrong question.

The real question is whether we are about to own nothing and be happy, which is to say, whether we are authentically mentally ill (as opposed to performatively “mentally ill” as part of a curated online identity).  Think of Elon Musk declaring that he was just going to live with friends for the rest of his life instead of owning houses—because friends are the spice of life, no?  I wonder what sort of friends Elon has.  Sure, take the fifth wing.  Yeah, kitty-corner from the spaceport and the athletic complex.  Stay as long as you like!

Amor fati, brother, amor fati.

If the definition of mental illness is, to a certain extent, mediated by culture and indicated by transgressions that show deviant behavior (i.e. behavior that indicates deviation from cultural norms), then Elon’s version of owning nothing might qualify.  Klaus Schwab’s utopian vision of the post-pandemic “Great Reset,” in which every human culture, corporation, nation, and industry must immediately “act jointly and swiftly to revamp all aspects of our societies and economies, from education to social contracts and working conditions” likely also qualifies.

                                           Klaus Schwab, at the World Economic Forum, envisioning utopia.

We might ask why utopian visionaries, who seem to know the truth and have a final solution worked out for the world, always end up as Robespierres.  Moreover, why do social movements dedicated to “diversity, equity, and inclusion” tend to devolve into bitter gestures of intolerance, over-compensatory bias, and exclusion?  Well, money.  It’s the economy, stupid.  And pandemic dread really seemed to fuel that sort of white-knuckle utopianism.  It goes without saying that any future vision according to a tight group of political and economic experts will not stay very bright.

Utopia nearly always leads to the dys– version. Utopian visions born out of pandemics and other global traumas seem the worst.  As the British sci-fi roleplaying game, Carbon 2185, put it: “Carbon 2185 has a highly detailed economy with reference tables and charts to help you instantly know how much a bowl of street ramen costs.”  I tried playing this game by post with some friends during the pandemic and we gave up.  According to the rules, a bowl of street ramen cost more than my monthly take-home and we had to rent all our guns.  I’ll pass on the ramen, thanks.  Bring on the insect-soy.  It was depressing.  Someone proposed D&D instead.  Someone said, “Fuck that.”  We didn’t talk for a bit.

 

Why lean into cyberpunk dystopia when talking about the future?  Why put a frame of Max, from Elysium, visiting his parole-officer bot, who asks, “Are you being sarcastic and / or abusive?” at the top of this piece?  Why call it, “Digging to China”?  Am I implying that, in the Monbiot-Thunbergian horseshoe irony of the post-pandemic near future, we will be eating processed insects and living in the pods of a grubby rental economy, where the CCP and the USA have arrived at the same socio-economic terminal?  Am I now going to start referencing the episodes of Black Mirror that made me the most depressed because they seemed the most likely?  Am I committing tone crimes and microaggressions in this paragraph?  I’ll spare you.

Instead, I’ll propose that there has never been a better time to stop monetizing your hobbies (or your art or your body).  The impetus for such a proposition comes from Colleen Doran’s excellent, “How Long Does it Take to Draw a Comic Book Page?” on Colleen Doran’s Funny Business.  I love Colleen Doran’s newsletter.  She’s a wise professional who’s been around long enough in her industry to have a few things to say about creativity, money, and staying sane.

At the same time, the way she tracks her time (“I tried to stick to an eight hour day for awhile, but it is impossible for a working cartoonist to work only 8 hours per day.”) reminded me of how I’ve been tracking my fiction words-per-day and how stressed I’ve felt (for decades) about staying productive.  Where does this stress come from?  From the same economic imagination that envisions being priced out of a bowl of street ramen.  From illusions like “upskilling” which seems to borrow logic from the old trickle-down economics that clearly worked so well.  And the self-publishing option is no consolation for a working writer.  You have to grind.  You have to write more or nothing works. You have to monetize everything and keep a straight face. No sarcasm permitted.

Yes, there have been some slot-machine winners in the self-publishing game (read their work and the slot-machine metaphor will begin to make a lot of sense).  There have also been slot-machine winners in social media influencing, self-managed parasocial porn sites, and various forms of crowdfunding.  And I have no doubt that some of it is good (Chuck Wendig’s writing comes to mind along with the band, Scary Pockets—no comment on OnlyFans and its clones).  But mostly people seem to have been lured, at least for a while, into another self-exploitation gulag.

The self-publishing platform (Amazon, Lulu, etc.) now stands in the place of a traditional publisher, only with non-existent gatekeeping.  Sure, buddy, you’re an author now.  Good luck with that . . . another utopian vision gone westward to seek its fortune while the company takes its cut.

As a writer, you will eventually eat the bugs.  You will own nothing.  You will labor to pay rents to monolithic inhuman organizations with AI customer service—economic entities that conflate sarcasm with abuse and practice zero tolerance toward any microaggression that may question their mission statements.  You will prostitute yourself from your temporary pod.  And you will be happy.

I’ve learned a lot about how my body and mind get monetized by scrupulously tracking time spent working on various projects.  I think Colleen Doran and my many creative friends are right to pay attention to how they’re spending their days.  But I also think, absent a trust fund, time and grind eventually converge violently in you.  The personal sacrifices, the mental illnesses, the continual self-betrayals in the interests of time, money, and productivity point more to the cruel altar of Allfather Zod than to some glorious worker’s paradise.

Being a Creative Writer in an Age of Anxiety

A colleague of mine, a self-employed commercial artist and science fiction writer I will call “Jim,” recently declared, “If you’re a man getting close to your 50s and you haven’t done something yet, don’t say you’re doing to do it someday because you probably won’t.”  Jim was criticizing another guy in the same industry, who he doesn’t like and who seems to be loudly and visibly struggling in his career. 

Strangely, Jim is also getting close to his 50s, hasn’t done all the things he wants to do, and is also existing paycheck to paycheck, trying to live off his self-published work (which is quite good, in my opinion).  The difference between them is the other guy whines loudly and constantly plugs his GoFundMe, while Jim works harder and (mostly) swallows his frustration.

Jim’s comments on social media are usually criticisms of people who complain about their difficult lives instead of working hard like him.  I can accept that attitude.  If anyone has earned the right to be scornful of the weak, it’s someone who started off in a weak position and made themselves strong or, in Jim’s case, perhaps marginally stronger.  Still, it doesn’t feel good when his angst rises and he starts punching down.

His pronouncement above sounds like flinty entrepreneurial wisdom—Yoda in a self-made, pull-yourself-up-by-your-bootstraps vein: do or do not (in your career, in your life); there is no try.  But I know his criticism and anger are rooted in his own insecurities, not in some external source.  We’re always the most critical of our own family, our own friends, our own professional colleagues, members of our own communities and cultures because, when they fail, it makes us feel like we’re next. 

Jim was, to use a trendy term, “triggered,” and he had to release the vapors.  We all have that friend who tries to speak like a philosopher or social critic as a way of purging anxiety and legitimating his concerns.  Sometimes, I do that, too.  So I’m not trying to be inordinately critical of Jim or except myself from a behavior that seems common among sensitive people, particularly artists and writers.  If you’re not bothered by something, you usually have little motivation to write or speak about it publicly, especially on a blog or in a magazine op-ed or on social media.  But in order to understand the criticism Jim’s making, we also have to know something about arts communities and social timing.

A creative community, whether physical (like a writer’s colony, a brick-and-mortar magazine, or a college art program) or on social media, is a perpetual knife fight in a submarine.  It goes without saying that in every creative field, money is always tight, careers are always precarious, hyper-competitiveness is the rule, commercialism undercuts everything, and exploitation is a fact of life. 

These hardships and uncertainties naturally produce immense anxiety, since survival is always at issue on some level, even when you ostensibly “make it” and get famous.  As the actress, Jewel Staite, drolly notes on her Twitter profile, “I like routine, predictability, and living a non-stressful existence, which is why I’ve chosen the film industry.”  That’s darkly funny.  But it’s also true: life as an artist isn’t simple or calm.  You don’t get job security, even when people know who you are.  You’re always on the make.

Keeping this in mind makes it easier to see how tearing down other creatives can become a Malthusian side hustle.  If they’re wounded, the instinct may be to kick them where it hurts.  If they’re down, put your foot on their back.  Do unto others before they can do unto you.  More table scraps for you that way.  You’ll feel less vulnerable, less likely to die in poverty and obscurity, less hopeless, lost, and ashamed that you ever considered yourself worthy to live a creative life.

If publicly criticizing others relieves your constant, grinding dread, even if only for a moment, it will be tempting.  But there’s a problem with that way of being, apart from its meanness and craven pettiness: it makes you less able to do your own imaginative work.  Competitiveness and the anxiety that stimulates it erodes creativity.  It demands your emotional energy, the power you should be channeling into your creative process.  And it makes you feel like you have to court public visibility at all costs to protect yourself from others like you.  It brings to mind Putin parading around his nukes, saying don’t mess with me.  I’m serious business.  That’s exhausting.  Artists should not have nukes.

This is why I have generally avoided arts communities; though, social media has put most writers like me in a perpetual online detention camp with my peers (and the current surge of AI art paranoia isn’t helping one bit).  The pandemic only exacerbated the tensions and forced online interactions that would not have been advisable in any other era.  Add the wave of self-conscious, humorless, social-activist writing still moving through pop-culture and the creative life seems nothing but an exercise in misery.

Western, middle-class, social timing says that by certain decades of life, one should have certain things and be certain things.  But very few people will admit that they fall short of those ideals.  One cannot log onto Twitter or Facebook without seeing some financial marketing come-on that goes, “How many millions will you need to retire?”  In other words, how much money will you need to avert an ugly humiliating end after you retire?  Millions?  Most artists and writers have thousands (or hundreds) in the bank.  Some, who are actually very gifted and good at what they do, live below the poverty line.

So I think I understand Jim when he says if you haven’t done a thing by 50, you aren’t going to.  He’s not talking to you or me.  He’s talking to himself.  Because he’s thinking about social timing and emoting like a neurotic artist in a creative community, wondering if he’s destined to die in the gutter.

While I don’t accept the assumptions that go into the success / failure binary encouraged by middle-class social timing—I think it’s a little more complicated and there’s more room to live how you want to live, if you’re willing to make compromises—I also think it’s better to work hard than pump your GoFundMe for sympathy change.  But I feel sad when I see a talented colleague desperately cutting down some other poor sap who’s just trying to make the rent any way he can.

We get one life.  It isn’t over ’till it’s over.  And ultimately we get to do what we want as long as we’re willing to accept the consequences.  That means, if you really love being an artist, you’ll choose art.  The hard part is making that choice in a relaxed, generous way.

You Might Live to be 100

Too much death in the air these days . . . 

The truth is you have no idea.  If you’re morbid and enjoy reading tragic stories, you might have nevertheless noticed that the terminally ill, those infected with bizarre venereal diseases (or run-of-the-mill venereal diseases, or even run-of-the-mill venereal Covid), people given personal doomsday clocks by their doctors, and people condemned to death in exotic penal systems often pull through anyway.  They live.

Why?  Nine times out of ten, the odds are bullshit.  That’s why.  You know this whenever you look in the mirror and see a miracle looking back, which is every time.  Every singularity is as remarkable as it is improbable, and it’s a straight-up miracle that you exist because you are that.

It’s amazing that you have enormous student loans; can worry about paying taxes on time; can have an orgasm, even one with another person; can search on the internet for poems by John Donne, who lived 450 years ago, and find them in less than five seconds; and are reading this right now.  Yes, a miracle, a completely improbable singularity, like a fat orange on a snowy day or a fire held in the hand.  You’re magic, kid.

So you simply do not know how long you’ve got, no matter the odds you’re given or the conventional wisdom that says boo-this and blah-that.  First tell me how magic works—i.e. why and how you exist—and then I’ll be willing to accept some metric for longevity that doesn’t have to do with actuarial computation and Big Gerontology.  Don’t swallow another protean manifestation of ghoulish capitalism that seeks to monetize everything, even life and death.  Don’t capitulate to capitalism.

Average lifespans are death propaganda.  Don’t drink that Kool-Aid.  Live.  Live long and motherfucking prosper.  As Sly said, “You can make it if you try.  Push a little harder.  Think a little deeper.  Don’t let the plastic bring you down.”  And know that everything trying to harness your assumptions about your life, how long it will last, and how great it could still be is plastic above you.  Highly profitable plastic, perhaps, but for someone who is not you.

Rather, with Donne, look at the years to come and say, “Twice or thrice had I lov’d thee,/ Before I knew thy face or name;/ So in a voice, so in a shapeless flame” come the angles of our nature, our better angels, our reflections in the mirror getting older, getting greyer, but still here.  We’re still kicking and we’re unwilling to trade the uncertainties of decades to come for the quiet enjoyment of the grave.