Just a Shower Thought Addendum: I know we feel compelled to check in on people when they haven’t posted on social media in a while—as if that’s the best external marker of mental health—but what if being absent from social media was the healthy norm and anyone posting a great deal got showered with direct contact from their friends to find out if they were okay?
It feels redundant to keep pointing wildly at everyone who’s coming to similar conclusions about the instability of this online ecosystem right now—BUT—every time I find another person doing it I start yelling “YES. YES!” and do want to catalogue them in some way because these conversations are unfolding in many different spaces concurrently. It’s not just cartoonists writing about being cartoonists. It’s dancers and authors and comedians and zinesters and activists and journalists and musicians all pausing to look around and say, collectively, “What the fuck am I doing here?”
I’m thinking about comedian Bo Burnham’s remarkable special Inside. About choreographer and quilter Marlee Grace’s latest newsletter. Jia Tolentino’s “The I in the Internet“. Rain’s documentary The Shopkeeper. Mara’s “Sex, Husbandry, and the Infinite Scroll“. How to Do Nothing. The Ones Who Walk Away from Omelas. I could go on.
Robin called the other day and mentioned that I seemed to have stopped blogging, to which I say: it’s a fair cop. I was in Portland being consumed by my newfound ability to be close to other people and then I was moving and for the past ten days I’ve still been moving, but it’s the shitty back-end part of moving that we don’t talk about as much where you have to actually unpack and (in the case of this particular move) jettison decades of childhood ephemera from your tiny bedroom in order to make it a livable space for yourself as an adult.
The last piece of furniture I needed to move in was my bed frame, which I’d decided to stain and refinish because “Imperfect DIY Projects” was in my “More” column for this year. Now that I can sleep in a space with visible floor area and a desk I can actually sit at (though I am, in fact, writing this on the bed), it turns out my brain is far more capable of turning to the digital spaces I’ve been neglecting for the past six weeks. By returning to writing, I’m breathing a habitual sigh of relief—the kind that turns into a stream of words about shit I didn’t know I was even processing in the background of whatever I was busy doing while I was thinking that I’d never write another word ever again.1
So, after all that preamble:
Nicole Brinkley wrote this essay called Did Twitter Break YA? as part of her Misshelved series on Patreon and it’s fucking great. YA isn’t my community, but it’s adjacent to my community. And booksellers (the community Nicole talks about most frequently in her writing) are absolutely within my community. The patterns she describes in this piece—of context collapse and “morally motivated networked harassment” and parasocial relationships and burnout—are patterns I know like the back of my hand.
There are so many nod-inducing moments, but this was the one that really made my blood run cold:
After all, access to authors is the real product—and if an author missteps, they’re just a failed product. There are always more authors to fill that spot on the shelf.
Bluergh. Hurk. Ek. How often have I slipped into thinking of myself as a failed product on a shelf? Certainly every time I’ve stopped posting as often on Patreon, or expressed enthusiasm about doing a drawing challenge and then failed to follow through. Definitely in those moments when I think that if I just had a bit more energy and time I could start making content that would grow my following “in earnest”. When I take two years to send a new installment of my newsletter. When I disappear.
But it’s not just the disappearance. It’s feeling of one’s absence being invisible within the onrushing tide of Other People’s Output. Remember that Drew Austin essay I linked a couple posts ago? He gets into it there, noting that “Every social media feed is an endless parade of these fragmentary identities, disaggregated into units of content and passing by quickly enough to evade the scrutiny that would detect their incompleteness.” The incompleteness being that we are all also doing and contending with other things. We have to be. We’re not just on Twitter 24/7—even people who seem as if they are.
This is the price of trying to succeed within the ecosystem of capitalism, and maybe it’s also why I want to keep sharing here and here alone: I haven’t contaminated this container yet. It gets to sit apart from everything else, just me and my thoughts.2
Earlier in the Pandemic Mara made a rare Instagram appearance, posting a series of text-based stories from her new home in Winthrop, Washington. I transcribed them immediately because, as with most things she writes and shares and speaks about, it sparked something in me that I needed to sit with for a long time.
I have so enjoyed every story and post by you all, dear friends. How does it work when I just observe you, and when to like/comment on what you make here is to feed an algorithm that watches and profits off of our affection? I don’t do it because it feels…violent?…to us. This platform is very hard for me. Thank you for understanding. It pales in comparison to being near you. The simulacrum of closeness feels nauseating. I know we are killing something important in the process of creating connection. I want you to walk through the door, for us to play. You’re all here always.
This is it—the heart of the thing. We chase engagement as if it’s the Holy Grail, and yet to play the game on any level means we’ve already lost. There are so many people I can think of who I’ve finally been able to see and embrace and laugh with over the past month and attempting to get that through social media does pale in comparison. The simulacrum is nauseating.
This handful of broken online platforms can’t be everything.
Past a certain point I don’t want to spend my time cataloguing people’s writing about this—or generating my own—because (and this is the curse of the over-informed over-thinker) I know it all already. I know it in my bones. I may not have the right terminology for it, but I can feel it. I fear I am admiring the problem, thrilling to ever more accurate descriptors that tell me precisely how and why I’m locked in this unfulfilling spiral, rather than taking steps to change my behavior.3
As Tolentino points out, “The internet reminds us on a daily basis that it is not at all rewarding to become aware of problems that you have no reasonable hope of solving.”
But Nicole is ready for that.
[…] I do not want to wear the armor of cynicism. I do not want to be trapped in the ouroboros of perfection just because the community I interact with demands it.
So here is what I will say to you, dear reader: You do not have to participate in this cycle.
The system is broken, but the system can be abandoned.
In addressing this head-on, she wins my heart.4 She admits that the piece started out as one thing and then turned into another. She describes the trajectory it might have taken had she chosen to focus solely on the issue of where actual teenage readers sit in the modern YA landscape, and then she recognizes that this is really a conversation about so much more. (I will never stop loving this pattern, wherever I encounter it.)
The Fake-It-Till-You-Make-It School, the Grit School, the Capitalism School—they all urge us to keep producing and grinding and persevering, trusting that clarity will come from more work (even if that work, at its core, is purposeless, unfulfilling, or even actively harmful). With no time to reflect or catch our breath, we feel we have no choice but to trust the systems we’re given, to push and push and push until we “break into” the spaces that are communally regarded as desirable, and then fight like hell to keep that power safe because don’t you know this is a landscape of scarcity? There’s only so much to go around.
When I think about the last year, I don’t think about pushing. I think about waiting.
I had to wait. I had to wait a long, long time. In some ways I’m still waiting.
So when Nicole says:
These days it’s okay to not be sure what Twitter is for. We can stop going there until we figure it out.
It feels like permission.
It makes my soul exhale.
“I don’t feel good when I’m here” is enough of a reason to leave. Even if the places I wish I could stay—or the people I wish I could stay with—sometimes bring me connection and joy and validation and money and, yes, even love. If my gut tells me that I am not, at baseline, nourished the way I need to be: I can walk.
That’s the new rule.
Thank you, Nicole.
1. I’m also kind of glossing over the fact that my obsessive nesting has masked a deeper discomfort with having to face the true emotional cost of this transition. That’s a conversation for another time. But, as my therapist reminded me: this grief is chronic, not acute. Avoidance is a tactic we use to survive ongoing adversity. It’s not inherently evil. ↩
2. Also, just a general side note in relation to all this: how often have I shared something like Nicole’s essay on Twitter or Instagram with the caveat “I’m fully aware of the irony of sharing this here, but…”? I want to stop doing that. If I’m reading something about how fucked it feels to still be on a certain platform and it resonates with me, I WANT TO TALK ABOUT IT SOMEWHERE OTHER THAN THAT PLATFORM. (I am yelling at myself here because this is a footnote and that’s what they’re for, I think.) ↩
3. Whoops this is the moment I realized that this essay is also about my historical approach to relationships. Surprise! ↩
4. She also reminds me of this stunning essay from adrienne maree brown about disrupting patterns of harm that specifically target Black women within movement work. I’m due a re-read because I haven’t stopped thinking about it for months. ↩
Something I frequently joke about—a dark truth that begs for humor—is how social media requires continuous posting just to remind everyone else you exist. I once said that if Twitter was real life our bodies would always be slowly shrinking, and tweeting more would be the only way to make ourselves bigger again. We can always opt out of this arrangement, of course, and live happily in meatspace, but that is precisely the point: Offline we exist by default; online we have to post our way into selfhood.
I’d never read anything by Drew Austin before today but boy howdy this got me right in the brain stem. Where and who and what am I these days, when I’m not sharing nearly so much of my life online? Am I coming into a season where my online persona is failing to cohere? Is that coherence even required on a personal blog in the same way it might be on social media? I have a lot of selves, and the task of reconciling them in the real world is daunting enough—let alone attempting to reflect them all equally in the weird hall of mirrors that constitutes online living.
Even before the Pandemic, I spent a great deal of time finding connection through machines. It was part and parcel of my work, the backbone of my audience and my ability to make a living. But having spent the past year being forced to mediate all my relationships through the internet or the telephone has left me hungry for connection in space in ways I can’t fully articulate.
Don’t get me wrong: I learned so much over the past year. From Kat. From Rachel. From Erika and Danielle and Robin and James and Sarah and Zina and Jez and Tess and Kristen and Vivian and RSS and Wayward and Hyperlink and everyone. I deepened and renewed and began so many friendships. So it’s a little surprising to me that I’ve had barely any interest in opening my laptop or getting on social media in weeks.
The obvious reason is that I’m currently moving out of my home in Portland for good. My days are full of boxes and warehouses and logistics and flaky Craigslist randos. But beyond the chaos of the move, there’s also the fact that in this post-vaccine, pre-moving-to-Ojai-for-the-long-haul moment, I’m being given the chance to reengage with the physical world—with my flesh-and-blood Portland humans who can give each other hugs and cook together and dance and laugh and cry in the same space. It’s commanding absolutely all of my attention.
I don’t even miss the internet. It feels so strange after a year of feeling like it was my lifeline.
Haven’t been super exact about remembering to cross-post when I release new Rambles, but I wanted to be sure I shared my latest one because people have said some deeply thoughtful and lovely things in the comments over on Patreon, and I think this is a discussion worth having right now.
Broad Themes: similarities between grief and creativity in both their acute and ambiguous forms, what to do when there is nothing to be done, Vaccine Feelings, broadening the window of tolerance for discomfort, models for social and economic validation, the metrics that matter in understanding Patronage, object permanence and online audiences.
Guest Starring: a lot of birds.
(If you prefer reading to listening, you can download a transcript here.)
After a couple extremely chaotic late-night email threads at the start of our collaboration on Seacritters, Kate and I quickly agreed that the best thing to do would be a weekly phone check-in where we could talk about story issues, share sketches, and debrief on any notes we’d received from our editor. I’m not used to working in cahoots with this many other people, and I find it overwhelming keeping everyone on the same page, so the ritual of a weekly call seemed both helpful and necessary.
This morning’s was only vaguely concerned with the book, though. We talked about story questions for about thirty minutes and then just…meandered off. We covered a lot of ground (Commonplace Books! Patreon! Gesture drawing equivalents for writers! The Emperor’s New Groove!), but the thing that really stuck with me was the phrase “This was time well spent”.
Kate said it, and it set off that little zing in my brain that registers as truth. This is what I’m looking for, when I draft things or draw things or design things, no matter how tangentially related they might be to my primary aim. And when I’m in a rut, as I am now, it’s often because anything I lay my hands to feels divorced from any context that might make it “worthy”.1
On the good days, everything feels connected—a giant wall of conspiracy string. But on the bad days, every gesture and thought sits in isolation. It’s like I’m looking at the same board, but someone has turned off the layer containing the string. Rather than an electric galaxy of potential I just see…a mess. Disorganized, aimless, futile.
While I would love to be in a position to turn that layer off and on at will, sometimes it’s out of my hands. Those are the moments when I miss the drip-feed of social validation that comes from sharing things on public platforms. It’s a steady piping cry of “Yes! Keep going! This matters!” that can make all the difference between enthusiasm and despair. But I don’t want to rely on it. I don’t want to give away that kind of power.
Talking to Kate got me excited again about ideas that had, only yesterday, seemed dull and lifeless. She made me think that it might not be about the public validation at all. It might just take an enthusiastic co-conspirator to say that it all matters. Everything is new to somebody.
This was time well spent.
1. The whole question of what constitutes worthiness in a creative practice is another matter entirely. ↩
I sent a couple tweets into the aether yesterday after not putting anything out on Twitter for about a month. Maybe it was because I’d just worked out and endorphins were careening through my central nervous system and my blood sugar was about to crash, but when I hit the button and sent them off my pulse went through the roof. My palms were sweating. It felt like I was having a panic response to something I used to do three, five, ten times a day.
I caught myself wondering: What is wrong with me?
By and large, I’ve been blessed with a kind, curious audience in the decade I’ve spent on Twitter. There’s about 10,800 people following me these days and I still feel like most of my interactions with them are positive.
I realize this makes me an outlier—especially as a woman.
I’ve never had a tweet go monstrously viral, never been dog-piled by a group of bad actors, never been the target of death threats or widespread abuse. Sometimes I wonder if this is because I am not doing anything truly important with my life, because it seems as if all the people I know who have suffered these indignities are engaged in vital work. If I’m not a target, I must not be taking any risks. If I’m not taking any risks, I must not be making a difference.
(Is this toxic martyrdom? Or just a truth about the world we live in? I’m still not sure. I’m certain there are plenty of people who engage in important change-making quietly, behind the scenes, but I’m still questioning the balance in my own life.)
Over the past month, I’ve only heard about Twitter secondhand, and everything I’ve heard has been negative. I’m not reminded of the occasional jokes or moments of connection with friends around the globe. Instead I hear about having one’s attention hijacked by traumatic media. I hear about the misunderstandings, the feuds, and the constant, deafening noise of millions of people clamoring to be heard. It makes me wonder what I have been doing, generating a feed of thoughts there. Am I truly attempting to provide some kind of service? Or am I feeding tokens into a machine in order to keep a tiny, arbitrary bubble of numbers going up?
I’d only logged on because I wanted to respond to a friend’s request for help promoting her latest project. I love helping my friends, and I try to use whatever weird, relatively minimal clout I’ve amassed online for good, but I also felt strangely resistant. I realized I’d cultivated a perverse sense of pride in seeing the days stack up since my last tweet—like I’d be given a challenge coin for every month I stayed clean.
“It’s just one tweet,” my brain reasoned. “It’s not like you’re going back to using the site all day.” But the fact is: I don’t know how to use Twitter by half measures. I need enough time away to get my brain to release its desperate, grasping attachment to all that activity, to the pressure to keep up and stay in the loop.
Thinking about these questions always brings me back to my friend doreen dodgen-magee and her very good book Deviced. She writes:
What happens when we offload our regulation to internet-enabled devices is, basically, a bait and switch. We need soothing, but we substitute stimulation. We need to get calm and centered; instead we gather more data, input, and dazzling digital experiences. This leaves us dependent on stimulation to distract us and make us think we are actually being soothed. On the contrary, being soothed results in calming and working through the feelings related to dysregulation. When we substitute simple distraction and stimulation for this developed ability, we end up amplifying the dysregulation we are already experiencing and rob ourselves of practice in the important work of bringing ourselves back to a regulated state.
Feeling that panic response tear through my body after so many weeks of calm scared me. It made me realize I’d been engaging in an ecosystem that hadn’t wounded me directly, but still came paired with a constant threat of attack. On a platform of that scale and volatility, every passing thought carries within it the potential for mass distribution, misunderstanding, and destruction.
This isn’t what I want in a channel of communion.
In these quieter spaces, sharing doesn’t come attached to the instinctual certainty that I’ve just kicked a furious ball of snakes.
As Michael Harris writes:
Beyond the sharing, the commenting, the constant thumbs-upping, beyond all that distracting gilt, there are stranger things waiting to be loved.
What stranger things am I loving now?
It’s been three weeks since Tansy was killed. I Rambled about it a little, but I haven’t really written about it. I didn’t write much of anything for a while there. I logged out of every online account I could think of the day it happened and told myself I would take a week at least to do whatever I needed to do to be okay.
That was new. Time was I wouldn’t have been able to give myself permission to disappear.
For the first few days I needed to tell people. I needed them to validate my experience, to affirm that it was horrific—as if every person I told might take some piece of it away with them, until I was left holding something I could bear. But I couldn’t stand the thought of the wider internet. I had to call my friends.
That, too, was new. It sounds like such a simple sentence. Of course you call your friends when something traumatic happens to you. But I didn’t used to be that kind of person.
Anyway, I didn’t mean to write about my cat or my friends. I was trying to talk about the fact that I haven’t been on Instagram or Twitter for the last few weeks, and that when I finally peeked today, this pair of tweets from Shing was at the top of my feed:
I read them, and faved them, and then I left.
Shing often says things I’ve been thinking with such clarity that I check behind my ears to make sure my brain hasn’t been bugged. The choice of language here—this idea of alignment—encapsulates so much of what I’ve been thinking about lately. Values and how we enact them. The moments when carving away is actually carving towards. It’s also present in Ashon Crawley saying “abolition is performative, it only happens when you do it” as part of a beautiful thread from December 15th, 2020.1
Critical Resistance Portland, the organization I’ve been writing letters with, are currently helping to get information about Economic Impact Payments into the hands of people in prison. Today I printed 25 info packets. Tomorrow I’ll address 25 envelopes, a couple at a time, here and there, and put the packets in the envelopes and then mail the envelopes to people imprisoned in Oregon. Maybe some of those people will be able to get their stimulus checks as a result. It isn’t complicated or particularly glamorous work, but it is important.2
And the thing is…it doesn’t take place on Twitter. All of the people I speak to on Twitter are privileged enough to have access to Twitter, for starters.
Having been off of Twitter for a few weeks, I do realize that I am, in many respects, less informed.
But I’ve also used the time I would’ve spent absorbing that deluge of information (much of it horrific) to distill and illustrate hours of interviews with voting rights activists about felony disenfranchisement and lowering the voting age in Oregon. I’ve reclaimed enough of my brain to align my skillset with my politics—something that is much, much harder to do when I’m caught in the mental landscape of social media, the one that screams “If you’re going to make art about this, it has to be done NOW.“
I have so little time these days.
I mean, time is stretching, in the strange way it often does in Ojai, but there is relatively little of it that is mine and mine alone. I don’t have room to drink from the misery firehose. Instead, I am carving away everything that isn’t aligned. I am dedicating myself to the slow accumulation of calcium carbonate on stone. The drip, drip, drip of incremental progress.
Shing says “my hope in change lies there” and I know, immediately and without question, what they’re talking about.
It’s here, in the practice.
1. It’s been three months and I’m still thinking about it. I could write so many blog posts about the positive use of “performative” alone. He’s a gem. ↩
Last month, while driving from Portland to Ojai, I stopped off in San Francisco for a distanced morning park walk with my pal Robin Rendle. After I’d got done screaming about how unbelievable it was to see the sun and be outside in short sleeves, we remembered we’d been joking about recording a podcast for a long time and figured there was no time like the present to give it a go. So I offer unto you:
A Robin Rambdle or I’m Sorry, You’re Welcome, Episode 1 or…
(You can download a transcript of our conversation here, if reading’s more your bag.)
This is broadly a discussion about unusual websites and trying to be yourself on the internet, but we also managed to talk about The Muppets, book design, 1970s British television, generative poetry, and at least two types of cheese.
We also watched a hawk building a nest in this tree the whole time we talked. Magical.
Here’s links to more or less everything we mentioned:
- The Right Number
- Robin’s newsletter, Adventures in Typography
- Robin’s weird hybrid website/essay, Newsletters
- Schemas of Uncertainty (which was also, I just learned, published as a COOL/WEIRD BOOK!)
- Christina Tran’s homepage and Twine blog, Lighthouse
- Tara Shepersky’s essay, This is Not a Project
- Robin Sloan’s tap essay, Fish
- Kelli Anderson
- J.R. Carpenter
- XKCD #1190, Time
- Boulet’s The Long Journey
- Jenny Odell’s How to Do Nothing
- Katie West and Jasmine Elliott’s Better Than IRL
- I’ll Get You What You Want (Cockatoo in Malibu) from Muppets Most Wanted
- Maciej Cegłowski at XOXO
- The Brain
- Richard Hendel’s On Book Design
- Miss Piggy’s Twitter account
- James Burke’s Connections
- R. Rawdon Wilson’s The Bright Chimera: Character as a Literary Term (I misremembered: it’s Frodo, not Bilbo)
Aaand…that’s it! Thanks for listening. It’s nice to get excited about stuff while talking to a friend.
Tonight I opened Twitter, exhausted from another long day of menial tasks laden with outsized emotional significance because they all have to do with moving, to find this tweet from Beck Tench.1
The thread that follows? I love it more than words can express.
This is one of those moments where I wish there was a better way to share these little…presentations? Mini keynotes? What are Twitter threads, really? Especially with Beck’s delightful illustrations, this collection of thoughts cries out for something bespoke like Robin’s scroll-snap essay on newsletters or Other Robin’s tap essay on fish. Twitter doesn’t do it justice—jumbles the order, messes with the pace. The best I can offer is this version on Thread Reader which, y’know? It’s actually all right.
I appreciate you, Thread Reader. You’re doing a decent job.
A N Y W A Y:
I came to wonder if the sharks swimming in the waters aren’t fears or doubts, but rather they are actually selves. And if, in times of stress, it’s those selves we must stay true to.
1. Do you have those people in your circles who just consistently say and think and share the most lovely, considered, thought-provoking things? Beck is one of those people for me. I love her tweets. And blog posts. And just…her whole deal. ↩