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  • The Salvage Principle

    The Salvage Principle

    Emmanuel Carrère imagines a revealing contrast between Luke and Paul. Luke was intelligent, cultivated, and eager to please, but he lacked Paul’s ferocious intellect and, more importantly, Paul’s contempt for philosophical self-help. Carrère suspects Luke would have happily embraced the elegant wisdom of Seneca’s Moral Letters to Lucilius. Paul, by contrast, would have regarded Seneca’s philosophy as little more than refined moral decoration—admirable perhaps, but powerless to accomplish the one thing that truly mattered: the transformation of the human soul.

    For Paul, Christianity alone possessed both the correct diagnosis and the only effective cure.

    Carrère himself is not so sure.

    Like Nietzsche, he finds himself drawn more naturally to Buddhism than to Christianity. Nietzsche admired Buddhism because it was, in his words, “colder, more truthful, more objective.” Carrère shares that attraction. Buddhism appeals to the modern temperament. It is psychologically subtle, emotionally restrained, and refreshingly free of theological thunderbolts.

    Yet he cannot entirely surrender to it.

    For all its serenity, Buddhism—like Stoicism—lacks what Carrère calls “something essential and tragic that’s at the heart of Christianity.”

    That missing element is Paul’s terrifying view of human nature.

    The Stoics and Buddhists begin with a hopeful assumption. Human suffering originates in ignorance. See reality clearly, discipline your desires, cultivate wisdom, and happiness will follow. The illness is intellectual. The cure is education.

    Carrère summarizes their confidence with admirable economy: “They think that human misfortunes stem from ignorance and that if you have the recipe for a happy life, well then, all you have to do is apply it.”

    Paul rejects that premise completely.

    His problem is not ignorance.

    His problem is himself.

    In one of the most psychologically penetrating passages ever written, he confesses:

    “I do not do the good I want, but the evil I hate.”

    The tragedy is not that Paul lacks the recipe.

    He already possesses it.

    The tragedy is that something within him refuses to follow it.

    His own will becomes an accomplice to his failure.

    His reason drafts magnificent plans while another, darker force quietly sabotages them.

    This is where Christianity parts company with Stoicism, Buddhism, and nearly every philosophy of self-improvement.

    The Stoic believes the soul can be retrained.

    The Buddhist believes desire can be disciplined.

    The self-help enthusiast believes the right habits, books, podcasts, and morning routines will eventually produce the better self.

    Paul is unconvinced.

    He advances what I call The Salvage Principle: the recognition that certain forms of moral or spiritual brokenness cannot be repaired through discipline, knowledge, or self-improvement because the self requiring repair is itself fundamentally damaged.

    Imagine three mechanics examining the same wrecked automobile.

    The Stoic opens the hood and reaches for his tools.

    The Buddhist recommends a different way of driving.

    Paul quietly shakes his head.

    The engine is destroyed.

    The frame is twisted.

    The damage runs all the way through.

    This car is not headed to the body shop.

    It is headed to the salvage yard.

    That, ultimately, is Paul’s scandalous claim.

    The deepest human problem is not informational but moral.

    It is not that we do not know the good.

    It is that we know it, admire it, and still betray it.

    Two thousand years later, that diagnosis remains unsettling precisely because it continues to describe us with uncomfortable accuracy.

  • The Vulcan Fallacy

    The Vulcan Fallacy

    Emmanuel Carrère praises Seneca’s Moral Letters to Lucilius as “sublime,” calling it “a long, mulling, sumptuous meditation on the art of living.” Seneca’s ambition is not merely to make us happier but to transform us. We are to outlive our vices until our actions naturally align with our highest thoughts.

    Carrère finds striking parallels between Stoicism and Buddhism. Both insist that our fate is shaped by our actions. Both treat gratitude as indispensable to happiness. Most importantly, both reject the notion that happiness arrives by accident. Happiness is a discipline.

    For Seneca, that discipline begins with relentless attention.

    Like physical strength, moral strength must be exercised until it becomes second nature. The Stoics called this exercise meditatio. Carrère’s friend Hervé wonderfully describes it as “the patient and scrupulous espionage of oneself by oneself.” I would call this Self-Espionage: the disciplined practice of observing one’s own motives, habits, and reactions with the detached vigilance of an investigator searching for hidden weaknesses.

    Paul Veyne captures the comic excess of this discipline with characteristic wit: “A Stoic does three things when he eats: he eats, he observes himself eating, and he composes a little poem about it.”

    The joke succeeds because it contains a truth. The Stoic never entirely stops watching himself.

    Eventually, however, the watching becomes unnecessary. Through years of disciplined reflection, thoughts, desires, and actions gradually converge until virtue no longer feels like effort. The mature Stoic—or Buddhist—does not strive to become mindful. He simply is. Seneca expresses this state with extraordinary elegance: “I don’t obey God, I agree with him.”

    This is Virtuous Convergence: the gradual alignment of one’s thoughts, desires, and actions until moral behavior no longer requires constant effort or self-policing.

    If Carrère ended there, The Kingdom would become an eloquent defense of Stoicism.

    He doesn’t.

    He believes something essential is missing.

    Drawing upon Paul Veyne’s introduction to Seneca, Carrère observes that Stoicism ultimately “misses out on what makes life interesting.” Veyne likens the Stoic to a thermostat whose sole purpose is maintaining a constant temperature regardless of changing conditions.

    It is a devastating metaphor.

    Life surely demands more than emotional climate control.

    Carrère presses the point further:

    What is the wisdom that consists in purging life of all novelty, emotion, curiosity, desire? That’s the major objection you can also put to Buddhism: that it considers desire an enemy. Desire and suffering go hand in hand: remove desire, and you also remove suffering. Even if it’s true, is it worth it?

    That question lingers.

    I think of hobbies that border on obsession.

    Some people collect paintings.

    Others collect sculpture or photography.

    I belong to the fraternity of watch enthusiasts, where otherwise sensible adults willingly torment themselves over beautifully engineered objects costing sums that would embarrass a financial planner.

    The obsession is irrational.

    That is precisely why it is enjoyable.

    The endless comparisons, the longing, the research, the anticipation, the occasional disappointment—these are not unfortunate side effects of the hobby.

    They are the hobby.

    A life stripped of every gratuitous passion may indeed become tranquil.

    It also risks becoming flavorless.

    No spice.

    No texture.

    No delightful absurdity.

    It is a world in perfect emotional equilibrium.

    It is also a world inhabited by Dr. Spock.

    The difficulty, of course, is that Spock is a Vulcan.

    We are not.

    This is where I part company with Stoicism.

    Its great weakness is what I call the Vulcan Fallacy: the mistaken belief that the highest form of human flourishing consists in eliminating emotional turbulence, desire, and irrational passions, thereby confusing emotional stability with a fully lived life.

    Human beings are not designed merely to maintain psychological equilibrium.

    We fall in love knowing our hearts may be broken.

    We create art knowing it may fail.

    We raise children knowing they will one day leave us.

    We pursue beauty, excellence, adventure, and impossible ambitions fully aware that desire carries disappointment in its wake.

    The point is not to eliminate suffering.

    The point is to discover which desires make the suffering worthwhile.

    Perfect serenity may produce admirable self-control.

    It has never produced Beethoven’s Ninth Symphony.

    Nor has it built cathedrals, written great novels, explored unknown oceans, or inspired a father to stay awake all night beside the hospital bed of his sick child.

    The fully human life requires more than a perfectly calibrated thermostat.

  • When Father Time Becomes Your Authorized Watch Dealer

    When Father Time Becomes Your Authorized Watch Dealer

    At sixty-five, with retirement approaching, I have aged out of five-thousand-dollar watches.

    Not because I can’t appreciate them.

    Not because they aren’t beautiful.

    Because I no longer have the wrist time.

    Twenty more years—if fortune is generous—is not enough to justify rotating my current collection alongside two additional grail pieces that would spend most of their lives quietly aging in a watch box. I call this Chronological Misalignment: the condition in which a person’s remaining lifetime no longer justifies acquiring possessions intended to be enjoyed over a much longer horizon.

    Time eventually becomes the harshest accountant.

    But time is only half the problem.

    The other half is geography.

    Or, more accurately, lifestyle.

    I still admire the Grand Seiko GMT. I still admire the Tudor Pelagos. They remain magnificent objects.

    I simply struggle to imagine wearing one while binge-watching Hulu, pushing a shopping cart through Target, or taking my daughters to YogurtLand for frozen yogurt.

    The watch would be dressed for an expedition to Antarctica.

    I would be buying gummy bears by the ounce.

    The mismatch is almost comic.

    I call this Environmental Misalignment: the condition in which one owns or desires objects whose elegance exceeds the ordinary circumstances of one’s daily life.

    Recognizing these two forms of misalignment is not depressing.

    It is liberating.

    Reality has performed the difficult task of setting my priorities for me.

    The question is no longer whether I can justify another grail watch.

    The question is what deserves that energy instead.

    For decades, watches occupied an astonishing amount of mental real estate. They required research, comparison, speculation, buying, selling, photographing, discussing, and occasionally irrational justification.

    Now that enthusiasm has become available for reassignment.

    It belongs elsewhere.

    It belongs in writing.

    It belongs at the piano.

    It belongs in my kettlebell-filled garage.

    Most of all, it belongs to my health.

    I am still about twenty pounds overweight.

    My physician periodically reminds me that it is time for fasting bloodwork—cholesterol, blood sugar, and the rest of the annual report card. I already know roughly what the results will say. At 230 pounds, everything will probably look respectable except my LDL cholesterol, which has an annoying habit of hovering around the borderline.

    So the mission is obvious.

    Reach 210 pounds.

    Then endure the ritual: skip breakfast, forgo the morning coffee, wait patiently while someone extracts several vials of blood, drive home slightly lightheaded, and receive laboratory numbers worthy of the inconvenience.

    At thirty-five, my grail was a Tudor Pelagos.

    At sixty-five, my grail is different. It’s a total cholesterol below 200 and a blood pressure reading of 120 over 80.

    That is not surrender.

    That is maturity.

    There comes a point in life when we stop negotiating with Father Time.

    He begins issuing instructions.

    He says:

    “You’re not wearing a Grand Seiko to Trader Joe’s.

    You’re not timing your afternoon nap with a luxury GMT.

    Your assignment now is different.

    Become as healthy as possible.

    Remain mentally sharp.

    Write your books.

    Play your piano.

    Stay strong enough that your family never has to carry you through the final chapters of your life.”

    For once, I find myself with no desire to argue.

    His orders make perfect sense.

    The remarkable thing is that they do not diminish my life.

    They simplify it.

    The pursuit of watches has quietly given way to the pursuit of longevity, creativity, and strength. Those ambitions promise far greater returns than another polished titanium case ever could.

    I wrote this little manifesto wearing a G-Shock Frogman.

    It told time just as faithfully as any luxury watch.

    More importantly, it reminded me that I have finally found a grail worthy of the time I have left.

  • Why the Rich Writer Walked Away

    Why the Rich Writer Walked Away

    Emmanuel Carrère may call himself an agnostic, but The Kingdom leaves little doubt that he believes Christianity possesses a terrifying kind of power. The tragedy, he suggests, is that many of us fail to experience that power not because Christianity is intellectually implausible, but because its demands are more than we are willing to bear.

    Like Carrère, we have become deeply attached to a particular way of life.

    We cultivate an identity that is worldly, ironic, sophisticated, and clever. We delight in demonstrating impeccable taste—not merely through the books we read but through the books we are seen reading. We proudly own the latest gadgets, make exquisitely informed purchases, and quietly enjoy belonging to that invisible fraternity of people who seem always to know what is worth buying, watching, and thinking. We mistake refinement for wisdom and discernment for virtue. We become connoisseurs of status disguised as connoisseurs of culture.

    Jesus threatens that entire arrangement.

    He insists that what we call power is often a counterfeit. Real power lies not in accumulating influence, wealth, admiration, or control but in relinquishing them. His invitation is not merely to improve our lives but to surrender them.

    That is the problem.

    Even if we admire Christ’s vision of humility and sacrificial love, we remain enchanted by the life we have painstakingly constructed. We love our comforts. We love our reputations. We love the illusion that we are directing our own destinies. We hesitate before following a God who has an unsettling habit of leading people into uncertainty, humiliation, danger, and, in the cases of Peter, Paul, and James, martyrdom.

    Carrère recognizes this reluctance within himself.

    With remarkable honesty, he contemplates his privileged life with melancholy, guilt, and unease. He is an acclaimed novelist. He travels the world. He vacations in beautiful places. He inhabits an aesthetic world polished by wealth, education, and artistic success.

    His confession is devastating: “I live in perpetual worship of and worry about my person, but also that I strongly believe in this person. I know nothing other than my own ego, and I believe that this ego exists.”

    Though agnostic about God, he is utterly certain of his ego.

    That certainty, he fears, is precisely the problem.

    The ego always asks the same question:

    What do I want?

    The Gospel asks a different one:

    What is right?

    The two questions frequently point in opposite directions.

    I know this conflict all too well.

    When I think about factory farming, I arrive at a conclusion I find difficult to escape. Morally speaking, I believe reducing or eliminating my participation in that system would be the more defensible course. The suffering involved troubles my conscience.

    Yet my behavior tells another story.

    I enjoy carne asada tacos. Family celebrations revolve around meat-centered meals. Refusing them would complicate relationships, invite awkward explanations, and separate me from customs that bind me to the people I love. Even if I located a sympathetic vegan community, meeting once a month to encourage one another would hardly replace the ordinary rhythms of family life.

    So I continue with my non-vegan ways.

    There exists a painful gap between my moral convictions and my daily habits.

    That gap exposes what I call Lifestyle Captivity: the condition in which a person’s comforts, status, pleasures, and social identity become so psychologically indispensable that they prevent wholehearted commitment to moral convictions or spiritual transformation.

    My attachment to pleasure proves stronger than my attachment to principle.

    That is not strength.

    It is weakness.

    Jesus’ warning about the rich man and the eye of the needle has always sounded exaggerated—until one realizes that wealth is not merely money. Wealth includes every possession, pleasure, habit, reputation, and identity we cannot imagine surrendering.

    This is the passage in The Kingdom that haunts Carrère most deeply.

    It haunts me as well.

    Reflecting on the story of the rich young ruler, Carrère writes with heartbreaking simplicity:

    “I identify with the rich young man. I have great wealth.”

    His wealth extends beyond money. It includes literary acclaim, artistic fulfillment, intellectual prestige, and the profound satisfaction of having discovered his vocation as a writer. He recognizes himself in an apocryphal saying attributed to Jesus: “If you bring forth what is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you.”

    Writing has become the means by which Carrère brings forth what is within him. It has given his life coherence, purpose, and joy.

    Yet even this gift becomes suspect.

    Whenever he takes satisfaction in his success, another voice interrupts.

    He writes:

    Nevertheless, a stubborn little voice persistently interrupts these moments of pharisaical smugness. It says that all the riches I enjoy—the wisdom I pride myself on, the confident hope I have of being on the right track—are what prevent real accomplishment. I never stop winning, although to really win I’d have to lose. I’m rich, gifted, praised, deserving, and conscious that I deserve: for all of that, woe to me!

    No amount of psychoanalysis, meditation, or self-acceptance silences that voice.

    Modern therapeutic culture encourages him to celebrate himself.

    The Gospel asks him to lose himself.

    Those are not the same project.

    In one of the most moving passages in the book, Carrère finally admits: “Nevertheless, I think that the little voice of the Gospel is right. And like the rich young man, I walk away, sad and pensive, for I have great wealth.”

    He may call himself an agnostic.

    Yet somewhere beneath the skepticism, beneath the irony, beneath the literary sophistication and psychological nuance, an unmistakably Christian longing remains alive.

    He longs to renounce the worldly attachments that have made him successful. He longs to exchange self-possession for surrender. He longs to discover whether lowering himself might, paradoxically, become the only path upward.

    Perhaps that is why The Kingdom refuses to become either an apology for Christianity or an argument against it.

    It is the confession of a man who cannot silence the Gospel’s little voice.

    Neither, I suspect, can I.

  • You Can’t Explain Beethoven

    You Can’t Explain Beethoven

    In his autobiographical novel The Kingdom, Emmanuel Carrère revisits the three years in his thirties when he became an intensely devoted Christian. Looking back, he is both fascinated and bewildered by the man he once was. He cannot decide whether those years of fervent faith represented a genuine encounter with God or a desperate attempt to survive depression and a crippling creative drought. He wonders whether, like Paul on the road to Damascus, he underwent a kind of mutation—and whether his later deconversion into agnosticism is simply another mutation of the self.

    What is striking is that Carrère refuses to declare one mutant superior to the other.

    He does not write as the triumphant rationalist looking back with condescension upon his younger, credulous self. Nor does he portray his conversion as the last moment of authentic truth before an unfortunate fall into unbelief. He extends equal curiosity to both versions of himself, unable to say with confidence which one saw reality more clearly. The believer and the agnostic remain locked in an unresolved conversation.

    Carrère also discovers an unexpected kinship with Luke. Both are storytellers. Both understand that narratives do more than report events—they persuade, shape memory, create identity, and sometimes become civilization’s most enduring myths.

    For this reason, Carrère navigates the Acts of the Apostles and Paul’s letters with impressive confidence. They invite historical investigation. They provoke questions of authorship, chronology, motive, and psychology. They reward the tools of criticism.

    Luke’s Gospel is different.

    When Carrère arrives there, his confidence evaporates.

    He becomes, in his own word, “speechless.”

    He wonders whether his silence arises because so much of Luke is imaginative, because it overflows with piety, because too many of its characters seem to exist without obvious historical models—or because approaching such a text without “fear and trembling” renders the entire exercise meaningless.

    That question reveals something profound.

    Analyzing Luke’s Gospel solely as an academic artifact begins to resemble explaining Beethoven’s Ninth Symphony through harmonic analysis while ignoring the experience of hearing it performed. The music may be dissected measure by measure, every modulation cataloged, every motif traced, yet none of that explains why generations have emerged from it transformed. It would be like arguing for Beethoven’s artistic greatness by comparing chord progressions with Debby Boone’s “You Light Up My Life.” Such an argument would be absurd. The argument may be persuasive, but it somehow misses the thing that made the work worth discussing in the first place.

    Luke’s Gospel confronts Carrère with what I call Reverential Limits: the recognition that certain works of art, literature, and religion cannot be fully understood through detached analysis alone because they also demand awe, imagination, and existential participation.

    This realization is one of the reasons The Kingdom rises above the familiar memoir of conversion or deconversion. It refuses the tidy architecture of books entitled Why I Became an X or Why I Am No Longer an X. Those books usually know their destination before the first page is written. They exist to prosecute a case and deliver a verdict.

    Carrère’s novel has a more ambitious purpose.

    It preserves wonder.

    The farther he investigates Christianity, the less eager he becomes to reduce it to a slogan, a certainty, or a manifesto. He discovers that the deepest encounters with great religion resemble the deepest encounters with great art. They resist summary. They refuse domestication. They leave us, not with the smug satisfaction of having solved the mystery, but with the unsettling realization that the mystery has somehow enlarged us.

    Sometimes the highest form of understanding is not another argument.

    Sometimes it is speechlessness.

  • Watch Enthusiasts and the Accumulation-Purge Cycle

    Watch Enthusiasts and the Accumulation-Purge Cycle

    A friend of mine has a wealthy father-in-law who retired to a gated community in West Palm Beach. He has cultivated an impressive talent for acquiring expensive watches, designer clothing, and high-end running shoes. His favorite purchase, apparently, is the duplicate. If one pair of premium running shoes is excellent, surely two are prudent. If one luxury watch brings satisfaction, another identical model must provide insurance against…something.

    Eventually, his closets revolt.

    Shelves bow under the weight of unopened boxes. Clothing hangs shoulder to shoulder like commuters on a Tokyo subway. The sheer abundance begins to oppress him. Faced with the consequences of his own abundance, he experiences a sudden burst of generosity.

    Or something that resembles generosity.

    My friend receives bins overflowing with expensive gifts. The contents are genuinely valuable, yet he returns home feeling less like the grateful beneficiary of extraordinary kindness than like a volunteer who has helped a neighbor haul unwanted furniture to the curb. The gifts are real, but so is the unmistakable sense that he has performed a public service by relieving his father-in-law of possessions that had become psychological clutter.

    Watching this reminded me uncomfortably of the watch hobby.

    Collectors, myself included, often suffer from what I call Acquisitive Respiration: the rhythm by which collectors inhale possessions through acquisition and exhale them through selling, gifting, or donating, each phase making the other possible.

    This rhythm belongs to a larger pathology: the Accumulation-Purge Cycle—the recurring compulsion to acquire possessions until their abundance becomes psychologically burdensome, prompting a purge that temporarily relieves anxiety while quietly preparing the ground for the next buying spree.

    The cycle is not merely behavioral. It is homeostatic.

    The system oscillates between excess and correction without ever confronting the appetite that created the excess in the first place.

    The watch collector inhales watches until opening the watch box produces mild panic instead of pleasure. The chronic dieter inhales calories until climbing a flight of stairs becomes an unwelcome cardiovascular event. Then comes the ritual of purification.

    The collector sells half the collection.

    The dieter loses thirty pounds.

    Both experience the intoxicating relief of restoration. Both congratulate themselves on their newfound discipline. Both quietly assume the problem has been solved.

    It hasn’t.

    The collector’s relationship to acquisition remains untouched. The dieter’s relationship to food remains fundamentally unchanged. The purge delivers genuine psychological relief, but it also resets the conditions for the next cycle. Empty watch slots begin whispering about future purchases. A slimmer waistline invites the dangerous thought that perhaps another slice of cheesecake won’t matter after all.

    Before long, the watch box fills again.

    Before long, so do the pants.

    This suggests a broader psychological principle.

    The purge often becomes part of the addiction rather than its cure.

    Indeed, the purge can become one of addiction’s most ingenious accomplices. It reassures us that excess carries no permanent consequences because everything can always be corrected later. Tomorrow’s diet becomes permission for today’s binge. Next month’s watch sale becomes justification for today’s impulse purchase.

    The purge feels like repentance.

    Sometimes it is merely maintenance.

    Real freedom arrives not when we become exceptionally skilled at emptying our closets or shrinking our waistlines, but when we no longer need to inhale so much in the first place.

  • Nothing Gets Better

    Nothing Gets Better

    Yesterday my piano tuner, Cecil, came by to work on my upright. He is pushing eighty, has spent a lifetime coaxing reluctant pianos back into harmony, and charges $250 for a tuning. I pay it gladly. When someone has become the best in the business, you stop thinking about the fee and start thinking about the privilege.

    After he finished, we lingered and talked about Southern California.

    I told him that whenever I return to my old stomping grounds in the Bay Area, I leave with the same impression: everything feels more crowded, more hurried, more stressful, and somehow less hospitable than I remember. The roads seem angrier. The neighborhoods seem denser. Even the air feels impatient.

    Without the slightest hesitation, Cecil smiled and delivered a sentence that landed with the force of an ancient proverb.

    “Nothing gets better.”

    The words settled over me like a truth I had always known but kept forgetting.

    Nothing gets better.

    Cecil continued. Torrance, he predicted, will eventually resemble West Los Angeles. Massive apartment complexes are already rising near our neighborhood. Del Amo Fashion Center has become a preview of the future. Try finding a parking space after eleven o’clock on a weekday. On weekends, don’t bother. The future has already begun circling the parking lot.

    Yet Cecil wasn’t complaining.

    That is the crucial distinction.

    His observation was not an invitation to pessimism but to realism.

    Most of our unhappiness comes from quietly assuming that the world ought to become more convenient, more orderly, more civilized, and less crowded as time marches on. When reality stubbornly refuses to cooperate, we conclude that something has gone terribly wrong.

    Perhaps nothing has gone wrong at all.

    Perhaps this is simply what civilizations do. They grow denser, noisier, more complicated, and more exhausting. Every technological advance solves one problem while inventing three new ones. Every improvement arrives carrying an invoice.

    I have come to think of this as the Cecil Principle: the recognition that the world rarely becomes simpler, quieter, or more civilized over time, requiring us to cultivate resilience rather than nostalgia or utopian expectation.

    The Cecil Principle reminded me of psychiatrist Phil Stutz, who reduces life to three unavoidable realities: pain, uncertainty, and constant work. According to Stutz, psychological health begins not by escaping these conditions but by accepting them. The fantasy that life should become comfortable is itself the source of much unnecessary suffering.

    Cecil, with considerably fewer words, had arrived at the same destination.

    Nothing gets better.

    Strangely, there is liberation in that sentence. Once I stop expecting history to reward me with perpetual improvement, I become less resentful when it doesn’t. I stop waiting for the perfect city, the perfect traffic pattern, the perfect political climate, or the perfect era. I become more attentive to the quiet pleasures still available: a well-tuned piano, an honest conversation, a competent craftsman who has spent decades mastering his trade.

    Nothing gets better.

    Oddly enough, accepting that fact makes life better.

    The truth, after all, has an unexpected habit of setting us free.

  • The Rise and Fall of the Influencer

    The Rise and Fall of the Influencer

    In her essay “The Extras Are Tired,” Ellen Cushing traces the astonishing rise of the influencer. Less than a decade ago, the word itself barely registered in the public vocabulary. The profession was still flapping uncertain wings. By 2023, those wings had become a full-fledged migration. Twenty-seven million Americans were earning money by producing online content, and universities were rushing to legitimize the phenomenon. Arizona State University now offers a bachelor’s degree in Content Creation, as though aspiring to become a walking selfie stick had matured into a respectable academic discipline.

    Yet the influencer economy already feels less inevitable than it did only a few years ago.

    One reason is technological. Increasingly, people seek advice from artificial intelligence rather than from smiling strangers who begin every video by announcing, “Hey, guys!” with the synthetic warmth of a flight attendant welcoming passengers aboard a delayed flight. AI may have its flaws, but at least it doesn’t interrupt your day to remind you to smash the like button.

    Another problem is more fundamental. Influencers possess a surprisingly short shelf life because their relationship with followers is built upon counterfeit intimacy. They manufacture the illusion that they are your trusted friend while simultaneously converting every friendship into a monetized sales funnel. Eventually, the performance begins to squeak. The smiles appear rehearsed. The vulnerability feels focus-group tested. The authenticity arrives with affiliate links.

    The public has noticed.

    Some clothing stores have become so weary of influencers transforming shopping aisles into film studios that they now post NO INFLUENCERS signs. The signs possess a wonderfully deadpan wit. They function almost like restaurant health inspections proudly declaring the premises free of rodents. Customers may now browse in peace, reassured that no one will suddenly begin recording a “Get Ready With Me” video between the denim racks.

    The signs are also an overdue act of cultural pushback.

    Influencers do not merely occupy public space; they annex it. They assume that coffee shops, sidewalks, airports, grocery stores, and boutiques exist as interchangeable backdrops for the ongoing production of their personal brand. Everyone else becomes unpaid production staff.

    This is a distinctly twenty-first-century form of vanity, one I call Protagonist Inflation: the progressive belief that one’s own life constitutes the central narrative while strangers exist primarily as background characters, audience members, or supporting cast.

    Cushing captures the phenomenon with characteristic precision:

    “Influencers today are a bit like plastic surgeons, or plumbers: On a societal level, many people sure seem to like what they do—they just don’t necessarily want to be right next to them while they’re doing it.”

    Exactly.

    Society may consume influencer content by the billions of views, but that does not mean it wishes to sit beside someone filming six takes of a cappuccino before allowing the coffee to become cold enough to qualify as archaeology.

    Much has been written about the jobs artificial intelligence will eliminate. We are warned that AI will replace writers, teachers, programmers, accountants, lawyers, and artists. Perhaps it will replace many of them.

    When it comes to influencers, however, I find it difficult to summon much grief.

    If artificial intelligence succeeds in removing one profession built upon convincing the rest of us that we are merely extras wandering through someone else’s movie, then AI will have performed at least one genuine public service.

  • The Attention Vultures Descend

    The Attention Vultures Descend

    I watched Netflix’s three-part documentary Idaho Murders: College Nightmare, expecting another true-crime chronicle. Instead, I found a cautionary tale about the moral corrosion of the social media age.

    The murders shattered the illusion of an idyllic college town where doors, friendships, and assumptions of decency had long remained open. Into that atmosphere of trust stepped a doctoral teaching assistant in criminology whose crimes seemed almost grotesquely theatrical: an aspiring expert in criminal behavior who became the very monster he purported to study. The documentary is unsettling not merely because it chronicles an act of staggering brutality, but because it reveals how quickly evil can erupt into places that imagine themselves immune from it.

    Yet the documentary’s most instructive chapter unfolds after the killings, during the long months when investigators had no public suspect. That vacuum of knowledge became oxygen for the internet. Social media influencers rushed to fill the silence, speaking with the confidence of detectives while possessing none of the evidence. Their videos, podcasts, and livestreams transformed ignorance into certainty. Innocent college students—already traumatized by the murders—were publicly identified as suspects, dissected as if they were characters in a murder mystery rather than human beings whose lives could be permanently scarred by reckless speculation.

    These people were not engaged in an earnest search for truth. They were engaged in a hunt for attention. Every accusation, every dramatic thumbnail, every emphatic declaration became another bid for clicks, subscribers, and algorithmic favor. Tragedy had become raw material for personal branding.

    Years ago, Jaron Lanier warned that social media rewards the most primitive parts of our psychology. The platforms appeal less to our reflective minds than to our craving for recognition, outrage, and status. They encourage us to chase attention as if it were oxygen. Watching the documentary, I felt as though Lanier’s warning had escaped the pages of his book and materialized on the screen. The influencers were not simply exploiting a tragedy; they had become creatures shaped by an economy in which visibility matters more than truth and confidence is valued above evidence.

    The documentary left me thinking less about the murderer than about myself. Over the last fifteen years, I have spent enough time on social media to recognize the same impulse in miniature—the subtle desire to post, comment, and share simply because an audience is there. The temptation is rarely malicious, but it springs from the same psychological soil: the hope of being noticed.

    The film made me want to cultivate a new habit. Before posting, I want to pause and ask a simple question: Am I adding light, or am I merely asking strangers to look at me? That brief moment of hesitation may be the smallest possible act of resistance against an attention economy that profits from our worst instincts.

    The documentary’s greatest lesson, then, has little to do with criminology. It is about character. It asks whether we will become citizens who value truth enough to remain silent when we do not know—or whether we will join the growing flock of attention vultures circling every human tragedy, mistaking spectatorship for significance. I know which path I hope to avoid. If that requires changing my relationship with social media, it is a price well worth paying.

  • The Seduction of Narrative Tidiness

    The Seduction of Narrative Tidiness

    Emmanuel Carrère finds Hyam Maccoby’s The Mythmaker intellectually stimulating but ultimately unpersuasive. Maccoby argues that Christianity is little more than history rewritten by its victors. In his telling, Paul is not merely mistaken but fraudulent. He is not even authentically Jewish. He hijacks Judaism, invents a new religion, and legitimizes it by claiming direct revelations from the risen Jesus, thereby elevating himself above the apostles who actually knew Christ.

    Carrère cannot resist responding with dry irony. “Then, finally, after two thousand years of darkness, Professor Maccoby appeared.”

    The joke exposes what Carrère sees as the weakness of Maccoby’s thesis. In attempting to strip Christianity of its myths, Maccoby constructs a myth of his own. Carrère writes, “Passing off two thousand years of Church history as complete revisionism strikes me as the height of revisionism.”

    This does not mean Carrère dismisses Maccoby outright. He readily acknowledges that portions of the New Testament contributed to centuries of Christian antisemitism. But he rejects Maccoby’s insistence that Jewish authorities bore no responsibility for Jesus’ persecution. The historical record, however fragmentary and contested, still points to genuine conflict between Jesus and segments of the Jewish religious leadership. Likewise, Maccoby’s portrait of Paul as little more than a calculating “goy informer” strikes Carrère as psychologically implausible. The Paul who emerges from his own letters is conflicted, tormented, contradictory, and profoundly self-aware—a figure possessing, as Carrère puts it, a distinctly Dostoyevskian complexity. Such a man cannot be reduced to a cardboard villain.

    Carrère’s disagreement with Maccoby reveals a broader truth about conspiracy theories and overly ambitious historical revisionism. They are almost always too tidy.

    Reality is untidy. Human beings harbor mixed motives. Historical events emerge from tangled webs of personality, accident, conviction, fear, and unintended consequences. Conspiracy theories sweep away that complexity in favor of elegant explanations populated by unmistakable heroes, obvious villains, and a single hidden key that unlocks everything. They offer certainty at a discount.

    The appeal is understandable. Complexity exhausts us. Ambiguity frustrates us. We long for stories that snap together with the satisfying precision of puzzle pieces. Yet the cleaner the explanation becomes, the more likely it is that reality has been shaved down to fit it. Tidiness often comes at the expense of truth.

    As Carrère wrestles with Christianity—a religion that has fascinated, converted, disillusioned, and continued to haunt him over decades—he refuses to surrender to what I call Narrative Tidiness: the impulse to compress complicated history into emotionally satisfying stories with unmistakable heroes, villains, and motives. He is willing to question Christian orthodoxy. He is equally willing to question the critics who promise to explain Christianity away with a single master theory.

    For Carrère, intellectual honesty requires resisting myths on both sides. The moment history becomes too neat, it has probably ceased to be history.