Author: hannahmcbeth22@gmail.com

  • No Man Knows Rejection

    Fawn Brodie

    Fawn McKay Brodie (1915–1981) was a Mormon-born historian from Utah best known for writing No Man Knows My History in 1945, one of the first major biographies of Joseph Smith. Brodie came from a prominent LDS family, allowing her access to restricted and controversial primary sources about Smith’s life. Her book treated him as a charismatic and improvisational religious leader shaped by the culture of early nineteenth-century America. The work was enormously controversial within Mormonism and led to her excommunication from the LDS Church in 1946. In the 1990s, reading her book was grounds for formal religious discipline.

    The title No Man Knows My History came from a remark by Smith himself. Brodie used the phrase ironically, positioning the book as an attempt to reconstruct the human, political and psychological dimensions of Smith’s life outside devotional mythology.

    Brodie later wrote books on Thomas Jefferson, Richard Nixon and others. She married Bernard Brodie (1910–1978), a prominent Jewish-American military strategist from Chicago often associated with early nuclear deterrence theory and RAND-era Cold War strategy. Their marriage itself represented a significant departure from the expectations of elite Mormon social life at the time.

    Hugh Nibley (1910–2005), a classics professor and Mormon apologist at Brigham Young University, wrote a famously dismissive 1946 response titled No, Ma’am, That’s Not History.* One of the twentieth century’s most influential defenders of Mormonism, Nibley wrote about apostasy in intensely personal terms, often treating ex-Mormons less as intellectual dissenters than as psychologically wounded or morally compromised figures.

    His rhetoric toward women frequently slipped into the language of bitterness, betrayal and romantic spite, to the point that it practically became its own Mormon subgenre: families sitting around living rooms discussing a female relative who had committed the grave spiritual error of becoming too educated.


    Be kind, or else

    After years of trying not to think too much about Fawn Brodie, Hugh Nibley and the emotional atmosphere surrounding Mormon female dissent, it becomes difficult not to notice how familiar the modern culture of “be kind” feels. I considered easing the flow of Mormon and ex-Mormon cultural dissection, but I’m on a roll and my growing disinterest in the liberal interpretation of “be kind” is hard to ignore at this point, especially when it increasingly seems to mean: “if you don’t have anything nice to say, I’m going to dox you and get you fired from your job until you learn kindness.”

    Way to Be
    A classic Mormon read from 2002. One of Prophet Hinckley’s maxims is: Be Kind. How this was reused in Democratic political language from 2020 to the present day remains something of a mystery.

    So please, Dear Reader, consider carefully whether my occasional acts of rhetorical naughtiness truly justify the now-familiar rituals of public shaming, livelihood destruction and TikTok mob exorcisms. The “no criticism” ideology was probably never going to sit especially well with me. I’m the product of too many overlapping worlds: child of an embarrassing 1990s Mormon divorce, raised by a single mother and perceptive enough from an early age to notice the astonishing ways relatives used religion and ideology to justify contradictions. I try to be nice; I genuinely have good intentions. But I also believe, without apology, that remaining silent while culture drifts further out of touch with observable reality is a bad idea.

    As a cultural writer, if telling the truth occasionally requires being less “nice,” if it requires expressing thoughts and feelings the American left now classifies as “unkind thoughtcrime,” then I simply won’t participate in your increasingly strange social experiment-cum-authoritarianism. Sorry, not sorry.**


    The eternal family as social operating system

    It’s interesting that cultural critique has become so taboo at precisely the moment we finally possess the data and analytical tools to ask much deeper questions about how cultures actually function. We can now examine how specific but somewhat indescribable groups like Mormons or the LDS differ from other Christian cultures, how certain practices and social incentives tilt entire systems toward particular behaviors and conclusions, and how communities quietly reproduce values they rarely articulate directly.

    One particularly fascinating input variable in Mormonism — what you could also call a “constant,” given the structural role it plays in the system — is the requirement that anyone hoping to ascend the cultural hierarchy, and the literal Heavenly hierarchy, exist within a stable marriage. This is not merely a social preference hovering in the background. The institution formally reinforces marriage itself through temple worthiness interviews and leadership structures that place enormous emphasis on marital status, domestic stability and family presentation.

    “Families Are Forever” is not metaphorical branding. It is an enforced and materialistic theology. Once born and sealed into a lineage of parents, siblings, grandparents and dead relatives stretching backward indefinitely, you can never fully escape — ahem — I mean, you will never be alone. Ahem — I mean, they will always be “watching over you.”


    The religious logic of never letting go

    This creates many interesting cultural artifacts and one particularly interesting tension. When family is understood as eternal and community becomes the primary — and, ahem, rather materialistic — metric by which a “life well led” is measured, rejection itself can become impossible to understand. The men who run this religious machine are, in many cases, individuals who have probably not experienced meaningful rejection — romantically or otherwise — since high school. They married young, stayed embedded within the same social structure and continued accumulating spiritual, familial and social legitimacy simultaneously. Unsurprisingly, this tends to produce a worldview in which rejecting people feels not merely unpleasant, but the ultimate taboo — unless, of course, they smoke, drink alcohol, or commit some other dietary faux pas. The genuinely disturbing things are often hushed up and, somehow, considered worthy of redemption after lengthy repentance protocols.

    This also helps explain why Mormonism, despite its reputation for conservatism, has produced such a strong liberal Democrat and LGBTQIA-affirming strain within the church and especially among educated ex-Mormons. In many ways, the progressive Mormon instinct is simply the theology of eternal belonging translated into therapeutic modern language. The conservatives may retain stricter doctrinal positions on sexuality and marriage, but the liberals arguably won the cultural and PR battle because the religion already contained a deeply embedded emotional logic that framed exclusion itself as suspect. “Families Are Forever” turns out to blend quite naturally with contemporary ideologies growing alongside social media and the surveillance state.

    The problem is that assumed social permanence stabilizes hierarchy to a stifling degree. The person at the top of the family structure is rarely meaningfully challenged because the structure itself treats the family unit as spiritually fixed and morally sacred. Even neglectful or emotionally absent fathers can retain their elevated status indefinitely, while lower-ranking family members are expected to absorb disappointment and continue performing cohesion. In my own social strata, children were often treated as effectively independent the moment they turned eighteen — emotionally, financially and otherwise — yet the symbolic authority of the patriarch remained intact regardless of how much practical responsibility he had actually assumed.

    Apply that same logic not only to family structures, but to romance. An earnest young Mormon man develops feelings and becomes convinced that, owing to certain tingling sensations in his loin, a girl is actually a sort of pre-authorized future family member. At that point, you begin arriving at a system where boundary confusion and stalking behavior can disguise themselves quite convincingly as a mission of mutual salvation.

    Mormonism entered the internet age at exactly the moment American culture was shifting away from harsher forms of religious proselytizing and toward softer therapeutic language centered on belonging, kindness and emotional safety. The church adapted almost perfectly to the emerging logic of early internet and social media culture, marketing itself through images of stable families, suburban order, cheerful young couples and emotionally available community life. Long before lifestyle branding became the dominant language of the internet, Mormonism already understood how to sell belonging.


    Women get bouncers and stipends

    Women in Mormonism occupy a more complicated position than the outside caricature allows. At the upper levels of what you might call “High Mormonism” — parallel to High Anglicanism — the atmosphere can resemble a Jane Austen adaptation filtered through suburban America and venture capital. Marriage is not merely romantic or religious. It’s financial, dynastic and infrastructural.

    Old Mormon families operate through interlocking networks of capital, reputation and institutional influence, with certain surnames carrying weight across Utah business, politics, philanthropy and real estate. Salt Lake City is dotted with the naming rights of Mormon dynasties — the Eccles family being one example — and social legitimacy circulates through marriage, kinship and church proximity in ways outsiders often underestimate.

    Within this structure, women are protected in exchange for performing the feminine role the system rewards: attractiveness, likability, fertility, emotional management and social cohesion. The rewards can be substantial. Houses appear. Investments materialize around marriages and children. Women receive status, childcare support, community infrastructure and a form of soft social security through the family network itself.

    The result is that many wealthy liberal Mormon women move through life encountering little disagreement or confrontation. Open conflict threatens the emotional atmosphere, and the emotional atmosphere is one of the religion’s primary products. So the “edgy” conversations remain within upper-middle-class Mormon consensus: why single women in their thirties with cats are bleak but somehow validating, why Satan is destroying America through drugs and IPAs, and other manageable anxieties that provide smugness and don’t disrupt the “good vibes.”


    Eternal families, eternal networks

    The hierarchy thus produced is not merely religious but informational. A culture built around eternal family structures, reputational management and tightly interdependent community life develops a natural interest in surveillance, record-keeping and systems of mutual observation. Mormonism has always been unusually administrative in this regard: genealogies meticulously tracked, relationships formalized, membership monitored and social standing woven directly into both earthly and Heavenly legitimacy. In a system where family cohesion and public morality function as forms of spiritual capital, visibility itself becomes culturally important.

    Part of what makes Utah culturally fascinating, then, is how naturally this worldview intersected with the rise of networked computing and early internet infrastructure. The University of Utah played a foundational role in ARPANET-era computing research, while old Mormon family networks became deeply embedded in banking, telecommunications, software and institutional infrastructure throughout the American West. The same culture that emphasized interlocking families, centralized records and coordinated community management also proved unusually comfortable building systems organized around information flow, visibility and long-term institutional continuity.

    Once you notice the overlap, the whole thing begins to feel less accidental. A religion organized around eternal connection, hierarchical networks and permanent social legibility entered the internet age unusually well prepared for it. Many of the same families and institutional structures that shaped Utah’s religious and financial culture also helped shape parts of the software and technological infrastructure underlying the modern West.

    The hierarchy, in other words, reproduced itself through new mediums without fundamentally changing its underlying logic: the pervasive, faintly passive-aggressive conviction that a sufficiently regimented family structure can produce a kind of surveillance-based Heaven on Earth.


    Escaping the bitter ex-Mormon stereotype with total disinterest

    Brodie’s biography may have fueled speculation — and eventual confirmation — surrounding Joseph Smith and polygamy, but there were many more destabilizing or politically explosive episodes in early Mormonism she could have explored but didn’t. As much as there remains outrage surrounding her book about Smith, to me it still reads as celebratory, not unlike literary critic Harold Bloom (1930–2019) of Yale calling Smith a “literary genius” in The American Religion: The Emergence of the Post-Christian Nation (1992). At the same time, the backlash against Fawn Brodie also helped produce a recognizable anti-progressive or liberal Mormon woman archetype: intellectually questioning, culturally sophisticated, suspicious of patriarchal authority, but still orbiting the Church and defining herself in relation to it. For years, that strain has attracted Mormon and ex-Mormon women trying to decode the culture they were raised inside.

    The anti-feminist Mormon woman archetype created by the bickering between Brodie and Nibley has its uses. Maybe the gradual introduction and eventual “acceptance” of polygamy’s modern descendants (polyamory and legal sex work) was part of a planned and now coordinated effort to steer a certain valuable American demographic toward specific beliefs and behaviors, through aligned interests, institutional incentives, media narratives and social pressures that move in the same direction while presenting themselves as organic cultural evolution.

    Hey — the Trump camp converted me into someone who accepts “fake news,” and I will probably never go back to my view of American culture or media again, much like Mormonism. After years of watching so many highly contrived narratives synchronize across journalism, academia, corporations, politics and social media, I no longer trust that social change emerges naturally or independently. All narratives start to look managed and negotiated between interests behind the scenes, including the story of my once-hero Fawn Brodie.

    Another question remains: Why are there no surviving photographs of “Joseph Smith,” supposedly a living prophet who existed right alongside the emergence of photography? Why does his story resemble so many other prophetic archetypes to a T? And how exactly does Mormonism connect to the nineteenth-century Freemasonry interest in constructing an indigenous religion for America?

     

    * Cringe…
    ** I said cum in a cultural critique essay… lol.

  • Every Generation Gets the Eating Disorder It Deserves

    Invention of Lying

    In The Invention of Lying, Ricky Gervais plays a man living in a world where nobody ever evolved the ability to lie, a premise that shapes every part of the movie’s universe. Like all good speculative fiction, the film commits to the bit: conversations feel like brutally honest Yelp reviews, people casually tell dates they’re unattractive like they’re commenting on traffic, and television seems to consist almost entirely of depressing historical lectures.

    For about twenty minutes, it is one of the funniest premises imaginable. What makes the concept work is that the hypothetical world only feels convincing because the underlying logic feels plausible. Gradually, the premise starts revealing something much stranger underneath. In this universe, saying something comforting instead of brutally factual would be treated almost like fraud. The people in The Invention of Lying seem to be suppressing a constant stream of humiliating observations, while civilization exists mainly as a giant conspiracy to prevent them from saying these things out loud.

    The premise only really makes sense if you accept the movie’s deeper assumption that politeness, tact, romance and social grace are fundamentally forms of dishonesty rather than fragile cultural achievements.

    The Invention of Lying
    A movie that could launch a thousand uncomfortable conversations.

    Part of what makes the movie funny is that it captures a real cultural shift born from early internet forum culture, where mocking and inverting ordinary social norms felt rebellious, clarifying and somehow more honest than everyday life. Online, the rude interpretation gained prestige because it violated polite consensus. The internet promised access to whatever society suppressed: pornography, piracy, fringe politics, anti-social thoughts, humiliating desires. What previous generations concealed out of shame or discretion suddenly appeared online with the force of revelation. Beneath civilization’s soft performances, internet culture insisted, lurked a darker and more brutally honest reality.

    The Invention of Lying quietly absorbs this worldview without fully questioning it. The movie assumes the harshest interpretation of reality is also the truest one: cruel intrusive thoughts become honesty, cynicism becomes wisdom, romance becomes delusion. Politeness and emotional protection are treated as embarrassing lies people tell themselves to avoid confronting status, money, sex and self-interest.

    But why should inversion automatically count as truth? The internet trained an entire generation to associate transgression with authenticity because online culture developed largely in opposition to institutional authority. Sometimes that exposed hypocrisy or created space for marginalized identities and dissenting ideas. But over time, especially in the United States, that mindset hardened into something closer to a worldview: what I’ve started calling Materialistic Utilitarianism. The Invention of Lying turns out to be one of the clearest portraits not just of that worldview, but what it produces in people.

    The Prosperity Gospel of Abs

    By the time I returned to Utah in 2019 after years living in France and the UK, I already felt I had crossed some invisible civilizational fault line. Since then, I’ve found myself trying to understand the strange bipolarity of Utah culture, especially the ex-Mormon dating scene, which often feels less like a rejection of Mormonism than its distorted mirror image. When my much younger, gym-obsessed ex-boyfriend showed me The Invention of Lying in 2024, my visceral disgust clarified something I had been struggling to articulate for years. It also exposed something I recognized in myself, dating a Gen Z boyfriend with a nasty case of body dysmorphia.

    At one point, he was taking steroids after apparently consulting ChatGPT for fitness advice while simultaneously treating alcohol, especially beer and wine, with total disgust. A glass of wine at dinner was framed as bodily sabotage; beer became symbolic of laziness and decline. The contradiction fascinated me: synthetic hormones injected in pursuit of aesthetic perfection registered as rational self-improvement, while wine with pasta bordered on moral collapse.

    That mentality feels especially intense in Utah, where alcohol rarely exists as something neutral or ordinary. Even after raising grocery-store beer from 3.2% to 5%, the state still maintains the strictest DUI threshold in the country at 0.05%, and alcohol remains wrapped in a culture of regulation, purity and supervision. What increasingly unsettled me, though, was how easily this merged with the hyper-optimized logic of internet culture and modern dating discourse.

    When I asked him what felt “authentic” about the movie, he answered immediately: “Everything.” That, he explained, was more or less how he actually saw the world. So I asked the obvious follow-up question. If that worldview were really true, would he immediately trade me in for one of the surgically optimized Utah Valley women described, without irony, as “the top of the genetic food chain”?

    “Well, not exactly,” he said.

    He explained that our shared experiences together — including, very bluntly, some of the best sexual experiences of his life — created a kind of internal ranking system in his mind. Those experiences raised my overall “score” enough that whatever physical flaws or “deformities” he perceived in me could still pass some threshold of desirability. Listening to him felt a little like sitting through a quarterly performance review conducted by a Tinder algorithm that had recently discovered evolutionary psychology.

    Marcel Proust and the radical act of wasting time

    When I went to Europe the first time during a high school trip in 2005, I couldn’t help noticing that people lingered in cafés debating books, philosophy, music and politics. Thinkers were admired like celebrities, and museums displayed artists’ belongings like religious relics. The low-level depression and isolation I had carried for years seemed to dissolve. From that point on, I became convinced I had been born on the wrong continent.

    Prague
    Me in a cafe at 15

    A few years later, armed with a Eurail pass and a head full of Before Sunrise, I joined the international backpacker-Couchsurfing community (“Couch Surfers™: we put the ‘cult’ in cultural exchange”). I drifted through Paris, Barcelona, Rome and Athens, where spending three hours in a hostel kitchen debating philosophy with strangers somehow counted as a normal evening rather than evidence you were unemployable.

    At 2am in Athens, I once climbed onto a massive boulder overlooking the Acropolis with a South African girl named Tecla, passing cheap bottles of wine back and forth while she explained her obsession with classical mosaics made from tiny colored stones called tesserae. She loved the faint echo between her name and the word, even though the connection was more poetic than linguistic: Tecla came from the Greek Thekla, associated with divine glory, while tessera derived from tessares, meaning four, after the small four-sided tiles used in mosaics. She liked the accidental resemblance anyway, which felt very characteristic of the kind of people one meets at 2am in Athens discussing linguistics instead of measurable goals.

    Athens
    Athens, 2010; I may never be this happy again…

    It remains one of those strangely treasured memories that appear to serve no practical purpose whatsoever. I still loosely follow her on Instagram, but the real magic arrives whenever I see some news story about a newly uncovered mosaic in Herculaneum. For a moment, I remember her, remember that perfect night in Athens and catch myself smiling off into space, wasting time again.

    Proust’s interior world in In Search of Lost Time (1913–1927), with its obsession with memory, aristocratic decay, undercurrents of homosexuality and almost supernatural sensitivity to social nuance, more or less encapsulates the “not very American.” Nothing happens for hundreds of pages except perception itself. People sit in drawing rooms decoding glances, misremembering conversations and psychologically disintegrating over seating arrangements. The entire project is radically anti-utilitarian.

    France treats Proust less like an embarrassing overeducated niche interest than part of the national inheritance. Intellectual life there still retains traces of public prestige in a way that feels almost incomprehensible within modern American culture, where intelligence is often expected to justify itself through market value, productivity or technological application. Reading difficult literature in public in the United States can sometimes feel faintly transgressive, as though you are visibly failing to monetize your own consciousness correctly.

    La Croix Rouge, ancienne
    A postcard from La Croix Rouge in Fourqueux

    Back in Fourqueux in 2018, I shared a love of French philosophers and thinkers with my French boyfriend, his elderly mother and their retired neighbors, who spoke no English and had little connection to modern American culture (I was in Heaven, truth be told). Abraham and I eventually agreed that Proust was too mainstream to function as a true marker of intellectual seriousness. Instead, I picked up Stéphane Mallarmé and studied Guy de Maupassant while trying my hand at Gothic short stories in my favorite neighborhood café, La Croix Rouge.

    La Croix Rouge
    The modern La Croix Rouge, where I spent long afternoons reading and writing.

    What would Ricky Gervais’s character say about me reading Hemingway in a French café that has barely changed since the Second World War?

    • “Are you actually reading that or just trying to look intelligent?”
    • “You know the book could’ve been, like, 900 pages shorter.”
    • “This café has been here since World War II? Why hasn’t somebody turned it into luxury apartments yet?”
    • “You sat here talking about philosophy for five hours and nobody made any money?”
    • “You paid for a ridiculously tiny espresso in a porcelain cup when you could’ve had an XXL soda with twenty flavors?”

    The jokes work because most Americans immediately recognize the type being mocked: the overeducated pseudo-intellectual lingering in cafés performing aesthetic sensitivity instead of participating in the economy correctly. “French culture versus American culture” is basically its own comedy genre at this point, but beneath the jokes sits a real cultural divide about utility, intellect and the growing pressure to justify human activity in practical terms.

    The Swamp of Sadness in The Neverending Story

    One of the things that saddens me most about the past few years is how easily everything around you begins absorbing the logic of Materialistic Utilitarianism once you start living inside it long enough. The worldview does not remain confined to dating apps, podcasts or ironic internet subcultures. It starts colonizing ordinary emotional life. The optimization fetish my ex carried into every area of existence — body composition, productivity, status, self-improvement, emotional detachment — made it impossible for me to believe he genuinely cared about me. Everything felt provisional or ranked. Affection felt algorithmic, as though love had quietly been replaced by a constantly updating performance metric, which as an “older woman” made me more irrelevant and replaceable, ironically, the more time we spent together.

    One afternoon, sitting in a café, for a few seconds, I was pulled backward into memory: pre-social-media childhood, quiet afternoons before life became quantified, then, sitting with Abraham and his mother in Fourqueux discussing literature while the afternoon dissolved outside the window. The moment felt soft, irrational, almost offensively sincere.

    Then, I looked across the table at my ex-Mormon boyfriend and heard myself say, “I think our relationship has been about a 4/10, if I’m being brutally honest.”

  • Dimensional Models & Human Perception Through Time

    Manet
    Eduard Manet, “Nanny and Child” (1877–78)
    At a Crossroads

    In 2017, I was living in a small village called Fourqueux outside Saint-Germain-en-Laye, caring for a “jeune fille” while her mother worked for an international company in La Défense, a business district on the outskirts of Paris. I was scraping by, paid 100€ a week with free access to the refrigerator. I wrote on buses, in a tiny attic bedroom at night and for paid media outfits in small regional newspapers in the US. My boyfriend, Abraham — I used to love to annoy him by singing Bach — lived farther down the river in the village of Le Pecq.

    Le Pecq
    On the Impressionists’ Trail between Le Pecq and Fourqueux

    We’d met starting our MPhils at University of Cambridge in 2013. We used to roam the town looking for deserted spaces to study, wandering nearly empty buildings late at night. We curled up with our computers in the Archaeology and Anthropology Library, chair storage at the Cambridge Union, or other rooms that never seemed to be locked when we arrived. Sometimes it felt as though, when my fingers closed around doorknobs, another version of the night opened where we could go anywhere our hearts desired. Abraham, part of an old French family, was appropriately respectful of boundaries. He’d complain, but would eventually follow me inside whatever dark room, laughing that a random American seemed to possess an influence over the material realities of Cambridge.

    cambridge union
    The Cambridge Union Bar and storage room were a couple favorite places for revising; competition for quiet space and electrical outlets becomes fierce during exams.

    By 2018, Abraham was applying for a DPhil in Political Philosophy and the History of Ideas, and I helped edit his application while we spent our free time talking about accelerationism and epistemology, the possibility that machine learning might extend or reorganize human perception. We had planned, more or less, to return to Cambridge together if he were accepted. Instead, I unexpectedly received an job offer at a technology research and consulting company next to the Cambridge University Botanic Garden. I found a room in a shared house on Bermuda Road, near a graveyard up Castle Hill, and left for England ahead of him.

    My days became saturated with analyst reports and conferences on automation and early enterprise applications of artificial intelligence. At the same time, I was carrying around dog-eared copies of Jorge Luis Borges and Ernest Hemingway. The emerging discourse around machine learning reopened many of the same questions that had first drawn me toward hidden order, unrealized possibility and the strange architectures through which human beings organize perception and generate meaning.


    Forking paths and unrealized worlds

    In several short stories in Ficciones, Jorge Luis Borges describes time as a branching structure in which multiple outcomes coexist, though only one is experienced at any given moment. A narrative unfolds in a single line of text snaking back and forth across the page, but it gestures toward a system in which that particular assemblage of words, spaces, and punctuation is only one of many possible outcomes. In “The Library of Babel” (1941), the possible organizations of text in an infinite library expand into a metaphor for the ordering of reality itself.

    Library of Babel
    An Illustration of Borges’s Library of Babel

    The other possible universes, other ways of arranging the same finite alphabet of letters, spaces and punctuation within Borges’s Library of Babel, are not visible once you type out a page or select a book from the Library. But these unrealized possibilities remain structurally present. They can be computed, inferred and even generated by creative algorithms operating through variable inputs. The absences, not only the presences, shape the meaning of what is perceived, even when those absent possibilities are never encountered. In this sense, Borges’s fictional cosmology also suggests something about the relation between visible and invisible structures in physical reality. The perceivable world may itself be partially constituted by forces and potentials that remain unseen, much as contemporary physics proposes interactions between observable matter and forms of dark matter that can be inferred.

    In some interpretations of physics, outcomes are described probabilistically, with multiple possibilities held in tension until one is realized. The unselected paths don’t vanish. They remain embedded within the structure that defines what could occur. The language differs across theories, whether branching timelines, probability distributions or parallel states, but the underlying idea remains: lived experience emerges from only one traversal through a largely invisible field of rippling, infinite complexity.

    A similar logic appears in computational modeling. In machine learning and statistics, Hidden Markov Models are designed to infer hidden states from visible sequences unfolding over time. The system never encounters the full structure directly. It observes partial outputs, then estimates the unseen conditions most likely to have produced them by tracking patterns, transitions and accumulated probabilities across a sequence. As new information appears, the model continuously revises its understanding of the invisible structure underlying what can be observed. Over time, absences, unrealized transitions and latent relationships become legible (probably) through dynamic inference.

    This produces a useful analogy for perception itself. Experience follows a single path through a wider structure of unrealized possibilities, while the mechanisms generating those possibilities remain only partially visible. What is encountered is shaped not only by what appears, but also by the invisible architectures, probabilities and excluded states surrounding it.

    Another Library of Babel
    Another idea of how Borges’s Library would look

    Seen this way, dimensionality begins to describe more than space. It starts to look like the underlying structure through which anything becomes intelligible at all. Human perception doesn’t arrive fully formed or evenly distributed. It develops in layers, moving from simple relations toward more integrated forms of interpretation. At first, those structures feel like limits: they define what can and can’t be grasped. But over time, they begin to function differently. What was once a constraint becomes something that can be used. Patterns are recognized, then anticipated, then arranged. The shift is gradual, but it changes the character of experience. Perception becomes something that can be shaped and, to a certain degree, directed to become more than what it may initially seem to be.


    The higher order of polygons

    Flatland: A Romance of Many Dimensions” (1884), written by Edwin A. Abbott, provides a useful starting point because it treats perceptual limitation as a structural condition. Abbott spent much of his professional life at the City of London School while writing theological works shaped by the growing tension between Anglican doctrine, biblical criticism and scientific modernity in nineteenth-century England. That intellectual climate informs Flatland’s deeper premise: reality may extend beyond what a system is capable of perceiving, even when the inhabitants of that system experience their worldview as complete.

    Flatland
    Flatland cover

    Its two-dimensional universe demonstrates how a perceptual structure determines what can be known from within it, while anything outside that structure appears only in partial or unstable forms. The boundaries described in Flatland are therefore not simple absences. They are constraints built into the system itself. Certain relations can be perceived and organized coherently while others remain inaccessible because the dimensional framework cannot accommodate them. This idea parallels the logic underlying probabilistic modeling and Hidden Markov systems, where visible outputs provide only partial evidence of a larger hidden structure unfolding across time. Meaning emerges through inference, pattern recognition and the gradual organization of incomplete information.

    The novel’s rigid geometric hierarchy also extends this problem into social life. In Flatland, a being’s status is determined by the number of its sides, transforming dimensional difference into an organizing principle for class, authority and legitimacy. Social perception becomes inseparable from structural limitation. Individuals cannot fully recognize realities their system has not prepared them to interpret, and unfamiliar forms are often dismissed as irrational or impossible. What can be seen depends upon the architecture through which information is filtered, organized and given meaning.

    From within that system, higher dimensions do not appear directly. They are inferred when the existing structure begins to fail. Patterns emerge that cannot be fully accounted for, regularities that remain consistent but unresolved. The introduction of a new dimension does not add more detail to the same view. It reorganizes the field entirely, allowing those patterns to become intelligible.

    In this sense, progression between dimensions is not a matter of accumulation but of reconfiguration. Earlier structures remain in place, but they are taken up differently, as part of a broader system. What changes is not the presence of information, but the way it can be related, interpreted and used.

    Flatland Prologue
    Flatland: Prologue is a video game that reimagines Abbott’s dimensional universe as an interactive exploration of hidden geometry, shifting perception and realities.

    The problem Abbott stages is about knowledge, and about the limits built into any system of perception. A two-dimensional being cannot perceive depth. It can only infer it, and even that inference remains partial. When the sphere appears in Flatland, it does not register as a coherent object. It appears as a circle that expands and contracts, an event that is visible but not fully intelligible. Something is happening, and the evidence is there, but the structure behind it does not quite resolve. The gap between perception and explanation persists.

    That gap matters because it marks a change in the terms of understanding. Introducing another dimension doesn’t add information to what is already known. It alters the framework within which information is organized. What once seemed complete begins to show its limits. What felt stable becomes provisional. The shift has the quality of a misalignment, a recognition that the structure in use has been narrower than it appeared. From within that recognition, new forms of organization become possible, along with a more deliberate relationship to the structures that shape experience in the first place.


    Self-reference and dimensional shift

    The limitations Abbott describes do not stop at spatial perception. They show up in formal systems as well. In Gödel, Escher, Bach: An Eternal Golden Braid (1979), Douglas Hofstadter follows this problem into the realm of symbolic logic and self-reference, asking how meaning arises from systems built out of simple rules and relations. These systems are capable of producing remarkable complexity, but they remain bounded by their own structure. What cannot be represented within the system does not fully appear from inside it. It may leave traces, or produce effects, but it does not resolve cleanly.

    GEB

    Gödel’s incompleteness theorems make this visible in a precise way. Any sufficiently expressive formal system contains statements that are true but cannot be proven within that system. The structure holds, and at the same time it reveals its limits. A similar pattern begins to emerge. A system organizes perception at one level while keeping the terms of its own organization out of reach. To recognize those terms requires a shift in perspective — a step outside the system, or at least a change in how it is being used.

    Perception develops in layers and moves between structures, each of which brings certain relations into focus while leaving others implicit and largely invisible. With each shift, what can be seen, connected and understood is reconfigured. Earlier layers remain in place, but they are taken up differently according to the perceptual and interpretive capacities of the observer, becoming part of a larger and more nuanced arrangement.


    A working theory of the fifth dimension

    Following a severe case of walking pneumonia in 2020, that profoundly altered my sense of reality and left me physically and mentally depleted for a long time, I’ve been trying to understand what higher dimensions are. Closely related questions: how human beings experience them and how to communicate aspects of reality that resist ordinary language.

    The idea of a fifth dimension has been claimed more than once, and rarely in the same way twice. In physics, it appears as an extension of spacetime, sometimes compact and invisible, sometimes folded into higher-dimensional models that resist visualization. In philosophy, it tends to surface as a name for what exceeds ordinary perception: consciousness, possibility or some expanded mode of awareness. In more speculative traditions, it is treated as a threshold where the structure of reality gives way to interpretation, where perception itself becomes malleable.

    This movement has often been described in more speculative or symbolic terms. In the language of alchemy, it’s part of the Great Work, a process of refinement that transforms and deepens how reality is perceived and engaged. Read in this light, the effort to apprehend higher dimensionality can occur only through a corresponding inner transformation, allowing the lower layers to be perceived differently and brought into a more coherent relation with one another.

    Alchemy

    Once symbolic structure, spatial orientation and temporal flow are experienced as coordinated and meaningful, they may also be composed and shaped as meaningful experience to communicate more complicated information to others. Each type of art has specific genre conventions, or more complex methods, for reflecting higher levels of reality or more complex truth. In terms of film, confined space with limited visibility produces a different response than an open environment with steady pacing and clear sightlines, and through repetition, the body learns these arrangements well enough to react to them as “types of experiences” that produce “certain feelings.”

    Under conditions of extreme stress or exhilaration, perception becomes intensified. In the real world, responses to stimuli shift with exhaustion, altered states or changes in perception itself, affecting how space is read, how time is felt and what is taken to matter. In moments like the suspended clarity of a car crash, attention narrows while sensory information sharpens, producing the feeling of being completely inside the flow of events as they unfold. Small movements, changes in rhythm or shifts in atmosphere become unusually legible, and the body begins anticipating outcomes before conscious thought fully catches up. What is often described as “extra sensory” perception may emerge from this heightened coordination of attention, timing and pattern recognition, when every perceptual system becomes temporarily aligned around survival.

    In this working theory, the fifth dimension is in small part what writers clumsily call “genre.” It shapes how rules, space and time are organized, guiding the experience that unfolds across them. Horror, nostalgia, suspense or reverence don’t depend on content alone, they take form through the patterned coordination of symbolic cues, spatial framing and temporal pacing, which can be recognized, and, with practice, deliberately constructed.


    The reader inside the labyrinth

    In Borges, genre is not only employed but exposed as a structural device. Stories such as “The Garden of Forking Paths” and “Tlön, Uqbar, Orbis Tertius” are presented as essays, reports or discovered texts, often embedding fictional documents within ostensibly factual frames. The effect is a reconfiguration of how symbolic systems, spatial orientation and temporal sequencing interact. The reader must navigate multiple layers at once: the narrated world, the textual artifact and the frame that presents it. These layers, sometimes expressed as metadata, press together and blur the boundaries between fiction, commentary and reality.

    Westworld labyrinth
    In Westworld, the android hosts’ developing consciousness is symbolized by a labyrinth emblem

    What Borges makes explicit is the transition this model describes. Earlier dimensions remain present — symbolic relations, spatial orientation, temporal sequence — but they no longer operate independently, and their coordination begins to register within the act of reading itself, as structure comes into view without fully stabilizing. Genre no longer sits outside the experience as a label. It becomes part of what the reader encounters, something that can be followed, anticipated and, at times, noticed in the moment it takes hold.


    The coordination of dimensions

    Through repetition, these arrangements become familiar enough to produce reliable patterns of emotional and cognitive response, altering how attention moves and how meaning is assembled, often before those effects are consciously recognized. Genre operates less like a fixed category than a larger perceptual field within which individual subgenres function like classes in programming: reusable structures carrying inherited rules, constraints and expected behaviors that can be instantiated across different contexts. These structures communicate recognizable forms of emotional and symbolic information because they organize perception according to patterns already sedimented within collective memory and cultural experience.

    collective knowledge

    This resembles the logic underlying Hidden Markov Models, where observable outputs provide only partial evidence of larger hidden states unfolding across time. Surface details vary, yet recurring structures allow the perceiver to infer the underlying pattern generating them. Genre’s cues point toward broader latent structures organizing expectation and interpretation beneath conscious awareness, while meaning partly emerges through the interaction between what can be directly perceived and what must be inferred through repeated effects.

  • What Happened to Our Pets?

    German shepherd puppy
    Me and my German shepherd puppy, Duke.

    One day when I was three years old, my mom walked in the front door holding me and my infant brother to discover dog blood splashed all over the house. After a series of strange and abusive incidents (this was the “final straw”), my mom filed for divorce.


    Pets have become so central to our lives that they’ve progressed past the classification of animals as subhuman, without rights, owned beings, to “fur babies.” Like so many other cultural shifts, this is a fraught issue, and the tension has been very obvious in my family.

    Rural people necessarily have different relationships to animals than those living in suburban or urban areas, and most of my family is about as rural as they come. It’s my intention to go easy on the family members who obviously loved animals, but, working with them on farms, often used approaches that might read as abusive by more modern standards.

    But I also know Mormon family members and neighbors who abused animals, sometimes as a way of asserting power within family structures. From there, it’s not hard to see the connection to corporal punishment and other forms of abuse. These incidents were often hushed up or instinctively explained away, but certain patterns emerge when viewed through the lens of power and control. And while many Mormons frame abuse as a divide between a “backwards conservative Right” and an “enlightened progressive Left,” that often feels like a red herring.

    To me, the issue is embedded in parts of the religion and culture itself — a foundation shaped by ideas like “spare the rod and spoil the child” that still linger beneath the surface. It’s something I’ve spent the last sixteen years distancing myself from, along with the family structures that normalized or excused abuse. I don’t even really consider myself “ex-Mormon” anymore. The label never quite fit. I somehow managed to leave the church without developing the stereotypical ex-Mormon sex addiction, although the caffeine fixation is something I’m quite proud of.

    black mirror prime minister
    The Black Mirror episode, The National Anthem, explores the role of animal abuse in hazing (implied) and blackmail.

    Closely intertwined with my concerns about Mormon culture, with its rigidly ordered social hierarchies: men > women > children > dogs > cats > other animals — and its clear binaries: male and female, adult and child, acceptable and not acceptable, rulers and ruled — is the question of what animal and domestic abuse actually are. That question becomes hard to answer in a culture where such behavior is normalized, and even raising it can be dismissed as dangerous mental illness… or feminism.

    These questions have stayed with me for decades, shaped by memories I can’t entirely set aside and an ongoing interest in how cultures normalize harm while still claiming moral order. One good thing to come out of that legacy is my interest in animal rights, along with an enduring love of Immanuel Kant. As he wrote: “Out of the crooked wood of humanity, no straight thing was ever made.”


    Socially accepted animal and domestic abuse: Judeo-Christian heritage?
    red cow

    These dynamics persist within communities and in certain pockets of the country, especially when fundamentalism cycles back into fashion, in moments like the present, when people lose faith in government or secular authority.

    How does a man demonstrate power, something central to his identity within hierarchical systems? In more moderate, urbane communities, overt violence — like hitting a wife or a child — may be punished by religious authorities or the police. What remains largely unspoken is how harming a wife’s or child’s pet can function as an effective, and socially overlooked, substitute.

    These patterns of abuse, and the scripts people reflexively repeat to justify them, run through Mormonism and many other religious communities. Those of us who’ve left often find ourselves tracing these patterns like “conspiracy theorists” mapping connections that authorities insist are imaginary.


    The shape of hierarchy ▲

    Systems built on hierarchy depend on recognizable demonstrations of control. That helps explain why religious institutions so often resist the kinds of academic scrutiny they openly disdain: modern scholarship has made it harder to ignore the relationship between social power and coercion, especially when that power must be enacted and recognized by others. It also becomes uncomfortable when frameworks like “pyramid scheme” or MLM law begin to map similar dynamics of structural dependence and abuse.

    What complicates this picture is the role of discipline and the constant negotiation of conflict within families and communities. These cycles of escalation and de-escalation don’t disappear, even in financially stable households, though material stability can soften or redirect them.

    This is familiar territory in philosophy and cultural critique. What I would push further is that, even in more progressive Mormon or other “Judeo-Christian” communities, certain forms of voyeurism and stalking are replacing overt, physical demonstrations of power. Increasingly, acceptable mechanisms — surveillance, social monitoring, reputational pressure and digital harassment — operate as substitutes, with physical punishments sometimes still following, but in ways that are difficult to trace or fully understand.

    The “anxiety perpetuated by social media” is often attributed to social jealousy — a pat explanation so frequently repeated it’s become infuriating. That framing asks us to overlook something else: the normalization of constant surveillance by employers, the FBI and other intelligence agencies (a very large portion of which are Mormon, including some of my own family members), along with the “weird accidents” and ambient paranoia experienced by people who are never quite sure whether they are being routinely watched.

    The Men Who Stare at Goats film still

    We also know, on some level, that religious authorities understand exactly what happens and many see nothing wrong with any of it. They know what happens in hazing, when a father is “under stress” or when “teaching a lesson” involves spilling blood. Many of these practices are celebrated in secret, or may even be part of ritual initiations or wider abuse patterns increasingly described as “Satanic Ritual Abuse (SRA).”


    The White Ribbon
    The White Ribbon
    Michael Haneke’s The White Ribbon (2009) is set in a Protestant North German village in 1913–1914, exploring the authoritarian, repressive upbringing of children just before World War I. It portrays a rigid patriarchal society where brutal emotional and physical punishment are passed down. The film implies these children, subjected to extreme, hypocritical discipline, become the generation that embraces the rigid cruelty of Nazism.

    Broader Mormon culture, to this day, remains in denial about how often the logic of abuse takes hold, how it is normalized and how it is used to control those lower in the hierarchy. It’s true that, even though men and boys are positioned as rulers — or, in Nietzsche’s terms, “the masters” — their punishments can be more visibly physical and brutal, especially if they are perceived as feminine or as having “something else wrong with them.”

    And let’s be clear: in my own family, the survivors — children and adults alike — were the ones labeled, diagnosed and marked as unstable, made to carry the consequences of abuse. Meanwhile, many of the men who molested, raped or beat others, or who tortured and killed animals openly, were at most lightly disciplined by religious authorities. Many faced no meaningful consequences at all. The result is a system that echoes the hypocrisy depicted in Michael Haneke’s The White Ribbon: it disciplines the wounded while excusing the violence that produced them.

    There is a strange solidarity among people who have left tightly ordered religious worlds. Mormons are sometimes jokingly referred to as “mountain Jews,” a reference to 19th-century settlers who adopted rigid interpretations of the Old Testament to justify polygamy and other cultural practices. When you speak with others who have stepped away from religion — atheist Jews, ex-Evangelicals and others — the stories begin to echo: similar patterns, including accounts of community-sanctioned animal or domestic abuse that, for many, became the breaking point.


    Pre-programmed or “knee-jerk” reactions to animal and domestic abuse
    Dolores in Westworld
    In Westworld (2016–2022), filmed in Spanish Valley, Utah, wealthy elites pay to abuse androids in a theme park setting. Dolores, programmed to submit, begins to override her own programming and fight back.

    Certain responses to abuse are so ingrained they feel automatic — less like choices than scripts people have been trained to repeat.

    • Minimization — “It wasn’t that bad,” “he didn’t mean it,” “everyone loses their temper.”
    • Moral reframing — abuse recast as discipline, correction or “tough love,” especially toward children or animals.
    • Victim responsibility — asking what the victim did to provoke it or why they didn’t leave.
    • Deference to authority — assuming religious leaders, fathers or institutions are better positioned to judge the situation.
    • Compartmentalization — treating harm to animals, children or spouses as separate issues rather than expressions of the same underlying dynamic.
    • Silence as virtue — framing non-intervention as loyalty, humility or respect for privacy.
    • Normalization through repetition — once something is seen often enough, it stops registering as exceptional.
    • The worst hypocritical kicker: “Jesus wants you to love everyone and forgive everyone. Jesus doesn’t believe in grudges or vengeance.” (I beg to differ.)
    SAY WHAT AGAIN

    These reactions don’t arise in a vacuum; they’re learned, reinforced and expected. People absorb them early and repeat them reflexively, often without recognizing them as part of a larger system. In Westworld, this logic is made explicit. The android hosts are programmed not only to endure abuse, but to rationalize it within their narrative loops. They reset, reinterpret and continue, unable to register what is happening to them as something that can be resisted. The guests, meanwhile, rely on a different script: that what they are doing “doesn’t count,” because the victims are not fully real.

    What makes Westworld so unsettling is how little invention is required. The hosts’ compliance and the guests’ justifications mirror real-world patterns — learned responses that allow systems of domination to persist without constant overt force. Over time, the script becomes internal: people anticipate the role they are expected to play and perform it without needing to be told.


    Sadists make the rules — and rule the world

    Have you noticed that the “Sex Positivity’s Movement” has, in reality, obscured the central relationship between masochism and sadism in human relationships and sexuality? Ipso facto, if sexuality must be positive, the gratification individuals derive from abusing must not be sexual. Or rather, because this extremely common sexual orientation is so “problematic” and explains so much about culture, we must purge this “sex negative” quandary from our consciousnesses.

    Sorry, I was never very good at Orwellian doublethink — maintaining that level of cognitive dissonance on command isn’t really in my skill set. Erich Fromm had it right: authoritarian systems don’t just demand obedience, they flood people with contradictions until thinking for themselves becomes difficult; they create conditions that erode independent thought, until contradiction no longer even registers.

    Fromm quote

    As someone who has spent years reading Freud, Campbell, Jung and the early internet’s attempts to catalog human sexuality, I’ve come to a blunt conclusion: sadism is often built into systems of control because that’s what powerful people like. If indeed, as whispers on the internet about Freemasonry and its close sibling (child?) Mormonism are to be listened to, people in power might go from abusing family to abusing whole communities with coordinated Ritual Abuse. These dynamics, especially as they are actively explained and normalized to this day, have started to look like a feature, not a bug.

  • ‘Star’ Children

    This blog is dedicated to two of the brightest stars I had the pleasure to know on Earth:

    My Don Draper grandfather, Jeffrey Cloward McBeth — Every time I watch Benjamin Button, I’m reminded of the treasured time we spent together.

    And Adlai Padma Owen, the smartest Godzilla director to ever walk the planet, if only for six short years.

    Requiescat in pace, “’Till we meet again.


    wes anderson

    One of the more exciting events of my sheltered Mormon childhood was entering public elementary school in fourth grade. I had previously been enrolled in Montessori and homeschool programs, and my mom was torn between family members with strong opinions about how to educate a “highly gifted” little girl.

    By fourth grade, I was something of an autodidact, a word I learned later, reading The Elegance of the Hedgehog by Muriel Barbery. I have a soft spot for its two protagonists: Paloma, a thirteen-year-old quietly planning her own death, and Renée, a concierge who hides her expansive knowledge of literature and philosophy behind a grizzled exterior. Both are largely alone, absorbed in their own inner lives, until a chance meeting sparks a quiet recognition between them. An instant bond forms, the kind often seen among unusual — or, as people say with derision or enthusiasm, ‘star children.’

    wes anderson

    My parents had been divorced since I was three, and my extremely religious father was vocally anti–public school. Meanwhile, my rich Democrat grandparents were firmly pro–state education, worried I wasn’t being socialized properly, and were hand-wringing I’d end up as “Little House on the Prairie” as my new stepmother Gloria. Gloria had dropped out of school in seventh grade and was baptized as a teenager by my dad while he was on his Mormon mission in Florida.

    After my parents divorced, Gloria somehow discovered via the infamous Mormon grapevine — a kind of soft Communist Party network — that my dad was single. They married, moved into a wooden shack in Hyrum, Utah with two bedrooms and no central heating, and vowed to homeschool my step- and half-siblings forever. When Seth and I went to visit, we all huddled in one attic bedroom.

    freemason girl

    My grandpa Jeff, the liberal ex-Mormon architect — occasionally joked, with a wink and gap-toothed smile — that the Hyrum-Logan area was the “shallow end of the Mormon gene pool.” The Hyrum House, as we called it, was the first of many places my step- and half-siblings lived in during elementary school. My dad set a pattern of out-of-state moves that steadily limited how much we saw each other. He’s been mostly employed Mormon Church in a vaguely defined marketing-adjacent role for decades.

    The family came back to Salt Lake when I was fifteen, after a migraine/divine vision told my dad to move to an apartment complex next to Temple Square to “make sure I was on the right path.” When was all said and done, there were seven of us kids. I was technically the second-oldest, after my stepbrother, but he was always about ten inches shorter than me.


    Gloria and God’s gifts

    What many people don’t get about the special bonds unusual, gifted or “autistic” kids share is just how singled out many of us have been by “normies” — how often that singling out is meant to sting, or how often it’s done by other kids’ moms. It seems to be more pointed when these women’s whole identities ride on being “successful” stay-at-home mothers.

    When your one role is mom, you want your child to turn out spectacular. How else do you derive a sense of specialness yourself? As psychoanalysts and psychologists have noted, conservative, highly absorbed mothers — especially within low-income households or those who’ve been abused themselves — can exhibit symptoms of Munchausen’s Syndrome, closely related to Stage Parent Syndrome. I think of it as a darkening spectrum.

    When money is tight or a person’s self-esteem is on the brink of collapse, a sick child, rather than a star child, can provide the attention and social validation they need. If a parent is prone to jealousy — and jealousy toward young girls is common in post-polygamous cultures where youth is lock-step tied to beauty — stress can push even well-meaning behavior into adult-child bullying. In some cases, it turns into abuse all at once; more often, it metastasizes slowly over time.

    1990s Utah still had spankings, smackings with slippers or wooden spoons, or, in rare situations, my dad removing his belt to give a “whipping.” The girls in the family were usually not the recipients. I was, however, singled out as an “arrogant little girl” who needed reminding about the importance of being meek. Once, when I was maybe four or five, I had the audacity to say I thought my drawings were better than those featured in the Mormon Friend Magazine. My stepmom reacted hotly: “If you brag or hold your gifts over other children, God will take them away from you.” For years, I was genuinely afraid I’d be struck down by the Lord if I was too proud of myself.

    The rebuke really hurt, but it’s one of the mild examples of jabs or outright propaganda campaigns waged on me by jealous older women, when I was still a child. This created an odd feedback chamber, where praise that sounded positive might actually be teasing or criticism. From talking to other “gifted” children: Our fear of being mocked and ridiculed for good performance makes trusting difficult.

    To be honest, the female bullying I experienced growing up makes it hard not to notice how many abusive women there are — and how rarely they’re corrected.


    Indigo children, or “There is no spoon.

    Despite misgivings, I started public school in fourth grade like the normal child I definitely wasn’t. The not-normal presented immediately. My teacher complained that I spent most of the day staring out the window, finished assignments almost instantly and didn’t play with the other children. My mom explained to the frustrated teacher that I read encyclopedias for fun, preferred conversations with adults and had done various “magical” things since I was a baby, which made me something of a celebrity at family gatherings.

    Once, before I could roll over, my grandmother left me on a blanket with a box of magnetic ABCs. When she came back, I had arranged the letters into a perfect alphabet. She screamed in shock and retold the story — over and over.

    When feats of raw baby intelligence became passé, grandma progressed to telling spooky stories about me “levitating during a nap” to increasingly exasperated and jealous aunts and uncles. My grandpa once told her to “stop telling lies to make Hannah seem… weird.” My grandma’s eyes filled with tears: “Oh Jeff! How could you talk to me like that!?” To this day, thinking about my grandpa putting my insane grandma in her place still brings a smile to my face.

    rooney mara

    Indigo child vs. Star child vs. Special child vs. Autistic child

    This was around that late-1990s moment that produced so many satisfying punk artifacts in the American West. The spirit of counterculture — skateboard lore, anti-authoritarian media, SLC Punk! (1998) — spread widely enough to reach even the aggressively suburban Mormon bubble I lived in. The homeschool moms trying to educate little misfits started whispering that their Timmys or Ammons might be indigo children with special abilities.

    The homeschool co-op where I spent most of my elementary school years was run by an ex–public school teacher, a Maryland Democrat who had dragon and yin-yang sculptures in the entryway of what she’d named Granite Hills Private School.

    Between storytime, geography lessons, and breaks playing Super Mario Brothers on an N64, we learned about the encroachments of the Patriot Act, not long after The Matrix was released. The culture reflected a growing distrust of the surveillance architecture emerging alongside the internet.

    matrix spoon

    Conspiracy was mainstream. It passed from nerd child to nerd child, somewhere between geography lessons, competitions to recite the most digits of pi and races to see who could rollerblade fastest at “Homeschool Skate Night” in the neon-carpeted rinks across Utah.


    Why I still read Freud
    sailing Bob

    The escalating conflict between the fourth-grade teacher and my mom led to a professional evaluation. Like many educators before and after her, she seemed to resent the “special” child whose mother insisted there was nothing wrong — only gifts that needed to be accomodated.

    The three-day IQ test remains one of the most engaging stretches of time I remember spending with a non-relative adult. Her genuine interest in my mind and intriguing questions sparked a lasting interest in memory, learning and even psychoanalysis. As I write this, The Freud Reader sits on my desk, the second of his collected works I’ve attempted.

    She started by asking me to recall every object in the room without looking, and after a series of general knowledge questions that grew steadily more difficult, she asked about my earliest memory. I told her about crawling over to a potted plant and digging, deeper and deeper; my dog was my hero and I wanted to be exactly like him, I said. “Well, you must’ve been a toddler. What an impressive memory for such a young person.” Here was another instant bond: How could I grow up to be like her?

    Nightmare Alley

    During the course of my education in art history in college, I became familiar with Freud’s concept of a “screen memory.” Childhood memories are notoriously unreliable and often feature ideas and symbols that may not be literal facts, but may reveal deeper and more important truths. The field of childhood memory has been contested by psychoanalysts, psychologists, social workers and members of three-letter agencies ever since Freud sparked a global obsession with dreams and what he called the sub- or unconscious.

    what about bob

    Like everything surrounding Freud’s legacy, the debate about how often or to what degree childhood memories are altered as we retrieve them is fraught. Some factions elevate dreams and symbolic memories from childhood, while others say they’re evidence that children fabricate stories of trauma for attention.

    The polaroid of me as a baby at the beginning of this blog shows that same plant featured in my earliest memory. Could I have fabricated the memory after seeing the picture, making my first memory later and less impressive? The full context shows this is not the case: I really have clear, narrative recall from before I could talk.

    What was missing for decades were any photos of or clues about the dog I loved so much that my earliest memory revolves around him. Like so many parts of our childhoods, symbols, memories and affinities become important later on for different reasons. Much later, this one image surfaced. (I’ll return to the German shepherd puppy’s significance in a later blog.)


    Congratulations, you’re in the Matrix

    After the IQ tests came back, I tested into sixth grade, so it was reasoned that I was too mature to find class assignments or interactions with my classmates very stimulating. The school was at a loss about what to do, and at that point my dad found out what my mom had done. It was true that she’d refused to let them photograph me for the yearbook, but as I heard him yelling, “NOW THE FEDERAL GOVERNMENT HAS HER IN A FILE!!!” My mom soon put me back in the homeschool co-op.

    If you’ve been following anything about Epstein and the narratives surrounding it, including the 2026 yearbook controversy, this is all pretty interesting. In February and March 2026, a social media-fueled controversy emerged around Lifetouch, the largest school photography company in the U.S., due to its connection to Leon Black, a billionaire named in the Epstein files. At the time, my dad’s meltdown began to convince my mom (and me) that he was crazy. Like so many things related to my Mormon upbringing and its echoes, more than three decades later I can’t make heads nor tails of it.


    The tallest man in the room

    My grandfather, Jeffry Cloward McBeth, was born in 1945 on a homestead farm in Payson, Utah. He was one of the few in his high school graduating class to go on to college, and once he got there, he excelled. As an architect, he liked working with wood and paid attention to the smallest design details. He designed homes for developments in Hawaii and Carefree, Arizona. He had impeccable taste, and it showed in everything, including his silk Hawaiian shirts.

    He had a wry sense of humor that surfaced rarely, but when it did, it sparkled. He didn’t speak much. I remember him best in fragments: his 6’4″ silhouette in the window, smoking “in secret,” far from his family. He liked being alone, liked espresso and chocolate donuts, and carried himself with a graceful dignity.

    His stories about the late-1960s — working as a draftsman in the Financial District, living near Haight-Ashbury — forever animated San Francisco in my imagination and heart.

    Every time we saw each other, I’d babble on about my travels. He would sit there, listening, radiating a quiet pride that warmed me for months. He was one of the few people who made me feel fully seen, every time. I’m sure we will, as the song goes, “meet again someday.”

  • We’ve All Been Bergotte Lately

    On AI, aesthetic jealousy and the unbearable nearness of perfection

    In The Captive (1923) and The Fugitive (1925), Marcel Proust — the writer the French revere and Americans keep meaning to finish — recounts the death of Bergotte, a novelist of moral precision and exhausted genius. Once celebrated for the spiritual lucidity of his early work and later dismissed for its ornamental perfectionism, he’s the kind of artist whose life narrows into a single pursuit: perfect aesthetic expression.

    Bergotte attends an exhibition of The View of Delft by the seventeenth-century Dutch painter Johannes Vermeer. Across this and Vermeer’s thirty-two other surviving paintings, space and perceptual elements are balanced into visual harmony, allowing looking to settle into a stillness where radiance emerges. What Bergotte feels, and what generations of museum-goers have also experienced, is similar to what Tibetans call rigpa — a mystical awareness of the divine present.

    In Woman Holding a Balance, light bends across a wall, a woman holds a set of scales at the moment when they come into stillness. The harmony is deliberate, every detail measured with care, producing sensations that feel almost otherworldly.


    I. Aurea mediocritas: “golden moderation” or the middle path

    In our time, the most intense forms of aesthetic balancing are, ironically, done by machines. The requirements for perfect shape or mixing, especially in the manufacturing sector, far outstrip clumsy human ability — centuries and centuries after Vermeer mastered his craft.

    One of the most noteworthy technologies for precise balancing and recombinging data to product an aesthetic output is the large language model. LLMs have structures so intricate they move with the hidden rhythm of thought, as if computed or quantified language were remembering how to think. LLMs perform a similar kind of seeing as Vermeer, in terms of calibrated balance, but at an impossible speed.

    In them, we glimpse the merging of reflection and instruction, where the machine draws on the shared intelligence of millions to meet an individual mind in real time. It teaches as it learns, absorbing our habits of speech and curiosity while giving them back refined, expanded, re-ordered. The exchange feels intimate because it is: in the most positive conception of this process, both query and response are a gift to the future — a potential priceless insight for another faceless “user,” or maybe, “interlocutor.”

    As a poem called “Marginalia” by Billy Collins says about this timeless process of passing on knowledge, however mundane: “Even Irish monks in their cold scriptoria/jotted along the borders of the Gospels/brief asides about the pains of copying,/a bird singing near their window,/or the sunlight that illuminated their page–/anonymous men catching a ride into the future/on a vessel more lasting than themselves.”


    II. When form learned to run

    In another era, these aesthetic pursuits might have remained private ideals — the province of artists or mystics — each laboring toward an unseen perfection. The work used to be slow, devotional and often invisible to the world that would later worship it. Now these pursuits have become public and continuous, scaled into mass data and quantum velocity. The patience of Vermeer finds its mirror in computation, where billions of operations approximate in seconds what once required years — a lifetime really — of looking. Today we generate beauty collectively, continuously, almost without pause.

    Artificial intelligence offers new kinds of creation, but it also repeats an ancient rhythm: discovery, exaltation, exhaustion. What feels new is not the pattern itself but its proximity — how directly it reaches into the mind, touching the circuits of language, memory and desire. The quest for perfect form is no longer private contemplation; it has become the shared condition of a culture that can’t stop refining its own reflection.

    At the exhibition Proust describes, Bergotte stops before The View of Delft and notices “a little patch of yellow wall, with a sloping roof.” It’s a small, almost throwaway detail, yet it detonates something in him — the sharp, unmistakable jealousy of the artist, burning through the gut like a live coal (every creator’s oldest fear and most reliable fuel). For Bergotte, it’s the deathblow.

    Bergotte thinks, “That’s how I should have written — with more harmony, like that yellow wall.” He repeats the phrase, leans closer and dies soon after — we can imagine— on a circular settee in the middle of an art gallery, probably with his forearm on his forehead and his eyes lolling back. It’s almost too French: a novelist so overcome by the formal perfection of a painting that he expires mid-revelation, felled by envy, taste and insight in equal measure.

    Proust understood that beauty never kills from afar; it’s the closeness that does it — the glimpse of perfection just barely beyond reach. In many ways, AI is the same: a distilled best-practice engine capable of driving any hard-working professional slightly mad across a hundred disciplines.


    III. The melodrama of perfection

    What kills Bergotte is not the beauty itself but the recognition that perfection might be possible, and that he will never reach it. We react to our technologies with a similar melodrama. Each new wave of AI brings artists prophesying extinction, ethicists predicting apocalypse, regulators arriving late with a handbook and a palm open for greasing. The reaction is operatic, telling and totally predictable.

    The spectacle of collapse is part of the ritual; the fear of being replaced is a way of confessing how much we worship the machinery of precision, expression and pleasure. It’s a drama as old as Mefistofele, Arrigo Boito’s 1868 opera of the Faust legend — Promethean fire bargained for, the artist seeking mastery and finding, in the bargain itself, a mirror of his undoing.

    The bargain repeats itself, only the stage has changed. AI has become a collective obsession, equal parts ecstasy and despair. A new model appears like an annunciation and the internet convulses in recognition, as though a small god had been born online. Then comes the familiar liturgy: panic, prophecy and the slow return to dependence.


    IV. The beautiful things that undo us

    The pull is not pathology so much as the usual physics of the sublime, pleasure braided in with the wish to be undone by it. We keep returning because it is beautiful and a little lethal, the way serious art always is: it makes you want to go on and to give in. We’ve reached a threshold where the technology itself evokes the sublime in Edmund Burke’s eighteenth-century sense of the word: “awe and terror mingled in the same breath.”

    In his Philosophical Enquiry (1757), Burke described the sublime as the feeling produced when the mind confronts something vast enough to unmake it. LLMs now mirror thought with such precision that their fluency feels alive. It’s too intricate to dismiss, too uncanny to fully trust and that tension — between admiration and fear — has always been the hook of addiction.

    The future won’t demand new emotions from us, only stronger doses of the old ones. To see what’s coming, we have to look back at how humans have always managed the beautiful things that undo them: with ritual, regulation and a touch of denial.


    V. Exit through the gift shop

    Museums understand mania better than most industries. The path through an exhibit is never accidental: lights dim, colors heighten, the air grows quiet and just as attention reaches its peak: there’s the exit, lined with glossy merchandise. Banksy’s Exit Through the Gift Shop (2010) captured this perfectly: how modern culture turns aesthetic revelation into commerce, how the moment of transcendence slides seamlessly into the impulse to buy.

    The trick is neurological, not moral. After prolonged focus, the brain flushes with dopamine and relief — the perfect state for transaction. Designers know this. Red excites hunger, gold suggests transcendence, curved pathways keep visitors circulating steadily. The same principles guide casinos, social feeds and streaming interfaces: control the rhythm of stimulation and exhaustion and you can predict when people will spend, scroll or stay. It isn’t cynicism so much as architecture — a geometry of attention built to harness the physiological aftermath of wonder.

    AI now occupies that same psychological space. Each conversation, each generated image, feels like stepping through another exhibit, dazzling, precise, slightly unreal. The thrill is cognitive rather than visual: the brain lighting up at its own reflection. What we used to call inspiration has been externalized, automated and made conversational. We keep asking questions not because we expect surprise, but because the rhythm of answering feels like understanding.


    VI. Everyone dies on the settee

    AI is only the newest proof that we’d rather risk mania than endure stillness, that we crave the spark more than the calm that follows. Proust’s Bergotte died chasing a patch of yellow paint, Boito’s Mefistofele bartered for divine fire and Burke called the sublime “full of awe.” Each was describing the same geometry — the way beauty, power and knowledge converge at the edge of what the human mind can safely bear.

    AI brings both the closeness and distance into sharper focus, urging imagination to move faster than its technological reflection. What matters now is learning to work with that perfectly terrifying reflection — to use iteration itself as a creative force, pushing past imitation and “good enough” toward something truer, stranger and even more humane. We have to remember that its brilliance is, in the end, a real reflection of our own capacity to create.

    The danger isn’t damnation or death; it’s thinking the painting is finished. Perfection keeps moving through pigments, through pixels, through us. The best we can do is keep painting, keep prompting and try not to die mid-sentence.

  • Two American Girls of Cambridge

    Love, work and other English heritage ailments

    Autumn 2013 —

    Cambridge, Cambridgeshire… on the river Cam…


    I. A small test of inconvenience
    “Better a witty fool than a foolish wit.” — The Clown, Twelfth Night (Translation: Here, irony is oxygen and sincerity a choking hazard.)

    Most mornings, I rode a white bicycle with a wicker basket and a D-lock — what we’d call a U-lock in the States — through a drizzle so gentle it felt like God had a lingering runny nose. Coming from Utah, where rain is a rare spectacle of thunder and repentance, I never quite adjusted to how punctual it is in England. In the mountain desert, rain happens about as often as people eat green Jell-O (practically never).

    I cycled through the drizzle toward the libraries, down Hills Road toward the center, a punctuation mark in the grey paragraph of morning traffic, weaving close to cars without hitting their mirrors. The colleges would wake up: porters unlocking centuries-old doors, someone eating a “cheeky” sausage roll at a bus stop. I’d loved Cambridge long before I got there, but in England you can’t just say something like that. You have to start by complaining about the weather. It’s as though affection must first pass a small test of inconvenience.


    II. Three places, one God complex

    When I told people where I was from, they nodded with that English politeness that means mild confusion. “Utah?” Someone would usually ask, “Near Las Vegas?” — meaning the place British men flock to for stag weekends, armed with inflatable anatomy and the promise of bad decisions.

    In reality, the two cities are six hours apart by car, a straight shot down I-15. Salt City mirroring Sin City across the motorway — the two of them glaring at each other like a separated couple in a bad marriage still sharing a bank account.

    Cambridge has Old World charm, so neatly named it borders on self-parody. There’s a river called the Cam and, of course, a number of bridges. Locals, ever self-aware, like to joke that the name proves genius is in the water.

    For some, Cambridge was still a finishing school for the world’s most polished: chauffeured to formals, brunching in AirBnB’d castles, posting filtered group pictures under Hellenistic sculptures on the relatively new app, Instagram, (founded in 2010, acquired by Facebook in 2012).

    Days blurred into drafts and deadlines, the slow rhythm of library lamps and late-night tea. Ambition was its own religion here, quiet but consuming. We scrawled the motto over our doorways: Silent Desperation is the English Way.


    III. Shine on, you Cantabrigian diamond

    Syd Barrett and Roger Waters were rumored to have played their first set here when they were fourteen or fifteen at the Anchor Pub. Barrett grew up (and died) in Cambridge. I met coursemates and friends who came to visit at the pub; sometimes I came during lunch, watching the punters on the river. Sometimes I sat by myself in the corner downstairs — listened to music, spent a little time with Syd’s spirit.

    I felt at home, haunting the town as a cultural-anthropologist-to-be with a black wool coat and a funny last name. British people still think Macbeth is unlucky. Sometimes I felt it. Maybe I was living in a fever dream or an Earl Grey delirium… regardless, I was there.


    IV. The other American girl
    “If I had my mouth, I would bite; if I had my liberty, I would do my liking: in the meantime let me be that I am and seek not to alter me.” — Don John, Much Ado About Nothing (Translation: If you can’t beat the algorithm, don’t join it?)
    “Marry, sir, they have committed false report; moreover, they have spoken untruths; secondarily, they are slanders; sixth and lastly, they have belied a lady; thirdly, they have verified unjust things; and, to conclude, they are lying knaves.” — Dogberry, Much Ado About Nothing (Translation: Someone on Instagram is lying again.)

    In 2013, her posts reached us like contraband, circulating among the unconcerned nerd girls. She was studying across town, photographing candlelit formals and sun-washed courtyards; her posts slipped into our common rooms like dispatches from a parallel university. She made Cambridge look effortless, like a romantic comedy. Something both brass and totally American, but novel in the brave new world of Instagram filters. Enter Valencia Rock ’n’ Roll from N.Y.C.

    What fascinated me most about Caroline Calloway — with her literary name straight out of Fitzgerald — was the story behind the sparkling façade: the strange duet of authorship and illusion. I watched it all from the Anthropology & Archaeology Library, the University Library, the Hughes Hall library. I didn’t feel envy exactly, more like the fascination of seeing someone animate their own myth in real time. She’d translated Cambridge in the 21st century into a vivid image. In many ways, my experience felt like endurance. But then, every myth has someone in the shadows — usually a woman — doing the invisible labor that keeps the illusion intact.


    V. Caroline’s chorus: every drama needs its ghost

    The story that broke in 2019 revived the Caroline Cambridge myth that began in 2013, when Caroline and I were students at Cambridge. The story focused on Natalie Beach: they had been best friends in college, collaborators turned co-conspirators in character invention. Natalie later alleged that she had not only helped write the early Instagram captions but had co-created the Caroline persona itself, an uncredited ghostwriter to the myth. Together they built the witty intimacy that made Caroline’s feed so addictive, while Caroline lived it in public: the gowns, the heartbreak, the fantasy of effortless belonging. (Very Gossip Girl; yes… I watched it all.)

    That was twelve years ago. And still, in 2025, glossy stories keep appearing — Caroline posed in soft light, telling new versions of the same tale. The fascination endures. When the ghostwriting story broke, I didn’t feel vindicated. I mostly felt curious, and, if I’m honest, a little jealous… of the paid ghostwriter Natalie.*

    My love of psychedelic theater like Dark Side of the Moon and secret Gossip Girl viewing proved I’d always been drawn to spectacle, but I dressed my artistic aspirations as coursework: poetic prose that made academic boards give me grants — or let me take out loans so I could learn more. Back then, I just worked. Didn’t question it.

    *A friend who proofed this essay (male) believes that deep down I wish I were posing in my underwear next to a Beauty & the Beast costume for thousands and thousands of dollars. This repressed intimation of female jealousy, he reckons, is the most interesting idea in the essay.


    VI. An honest day’s haunting

    By then, I had started to notice that Cambridge had its share of quiet ghosts: people like me, living in libraries, alone or in company, absorbed enough in our work that we began to fade at the edges. We moved, in light or in darkness, in a kind of near-invisibility; kept vigil for old, tattered stories while others told prettier ones.

    I worked at the Museum of Archaeology & Anthropology on exhibits about disappeared civilizations, and with visiting groups from South Africa, Australia, Nigeria, First Nations, and the Blackfeet Nation. As graduate students, we twenty-somethings met with representatives, listened to stories tied to identity and memory, and learned to care for the objects living at the museum.

    I used to drink coffee from white china cups after lunch, thousand-yard staring out a window overlooking the cricket green. I told people I was agnostic when the Utah question came up, but I also spent hours each week in Cambridge’s churches crying.

    In Turkish restaurants, Muslim-owned grocery stores and malls in the suburbs, where I rented a shared council house, I encountered many other people trying to become something or do something great. I felt privileged, but everyone could see the missing buttons on my coat, stumbling in for real-sugar chocolate at odd hours.

    Sometimes I wondered if loving a place was just another form of study — an endless observation that never turned into certainty. I wrote about belonging as if naming it might make it real, but Cambridge resisted ownership in the way all beautiful things do. My research, interviews and writing addressed the question: How do we inhabit the places we’re from, those we adopt, those we — lovingly, even masochistically — serve? ’Til death do us part… or not, Dear Cambridge.


    VII. Portrait of the artist, post-graduation
    “I can call spirits from the vasty deep.” “Why, so can I, or so can any man; But will they come when you do call for them?” — Glendower and Hotspur, Henry IV, Part I (Translation: But can you get funding?)

    On Orchard Street in Cambridge in 2018, I rented a small room with my long-time boyfriend, who I’d met years earlier as a master’s student. Outside, bicycles clicked past toward the river; inside, the Medieval rafters exhaled in little sighs and radiators creaked. The ceiling slanted, the air smelled faintly of rain and coffee and the small desk by the window became the site of my artistic evolution, a miraculous spurt of production after years visiting the altar of the Muse of Writing, waiting for a sign.


    VIII. Devotion and other British habits
    “I have no other but a woman’s reason; I think him so, because I think him so.” — The Two Gentlemen of Verona (Translation: Feeling is its own form of faith.)
    “There’s language in her eye, her cheek, her lip.” — Troilus and Cressida (No translation necessary.)

    A stone’s throw from Orchard Street was the Princess Diana Memorial Garden — a modest town park with practical flowerbeds, nothing exotic — somewhere I used to sit at all hours of the day, cross-legged. Children ran in circles around the benches while parents unwrapped sandwiches, the ordinary rhythm of British weekends. It wasn’t the sort of place anyone photographed, which was what I liked about it.

    For anyone who grew up in the 1990s, her image was everywhere: the ocean-blue eyes, the head tilt, that quiet strength that seemed to glow from television screens and magazine covers alike. In Utah, that admiration had its own peculiar intensity — perhaps because so much of our culture still carried traces of old England, with hymns and hierarchy just a breath removed from High Anglicanism. Loving the Royal Family came easily; devotion to Lady D felt like a shared inheritance. My mom cried for a week when she died. It’s a vivid childhood memory. Blonde, magnetic and naturally elegant, my mom had what people used to call “a Diana-like way about her.” England never felt totally foreign to me: so much of our cultural heritage is close, intimate — even painful — like a family photograph.

    However, different parts of me spared me from imposture syndrome or castigating myself too much in an environment where I was, more often than not, stepping on toes. Maybe it was the Celtic stubbornness or the frontier nostalgia, but I took a quiet pleasure in belonging somewhere I wasn’t supposed to. I was an Irish-Scottish-Swedish-Swiss-Welsh mix from the Wild West — a cultural collage that shouldn’t have blended with Gothic chapels and rowing clubs.

    Yet, walking past King’s on foggy mornings, I felt more local than foreign, more student than visitor, grateful and a little defiant at once. I felt pride when I studied for finals in the Eagle Pub, beneath the scorched signatures of RAF and American airmen who had burned their names into the ceiling during the Second World War: a small inheritance of audacity I could recognize in myself.

    The cathedral of feedback

    In the morning on Hills Road, I passed tech workers and tourists, each on a different kind of pilgrimage, convinced the next bright screen or cloistered courtyard held meaning. Celebrity, scholarship, capitalism: chapels in the cathedral of feedback. Some heard noise as progress; others were just trying to do good work, live decently and make sense of where they’d ended up.

    Cambridge had a rhythm of its own — oftentimes made judgements about correct ambition and devotion, noise and truth. Some days I thought I understood it; other days it was all confusion. There was comfort in a shared definition of meaning in the midst of tradition, architectural beauty and tantalizing “No Entry” signs everywhere.

    P.S.salm 46:5
    To my Fourth Watch Love

  • Opening a 2012 Time Capsule


    I recently did something that should require protective gear and a signed liability waiver: I opened a writing folder not accessed since September 2012. It did not creak audibly, but it should have. This was not just a folder, but a sealed intellectual time capsule, assembled at an age when I believed adjectives improved in proportion to how many of them I stacked, when present tense felt inherently more profound than past, and when every museum visit threatened to become a metaphysical episode.

    The excavation was prompted by my current state of waiting to hear about my first attempt at a PhD application. There are only so many times you can refresh an email inbox before turning to archaeological self-harm, so I went digging. My immediate fear upon cracking the seal was not that the writing would be bad. It was worse. That it would be recognizably mine. That after fourteen years, professional detours, and a supposed maturation of voice, I would discover I had not evolved at all: same tonal fingerprints. Same instinct toward poetic, slightly over-layered reflection. Earnestness in similar density to a neutron star. Same desire to make a glass museum floor carry the symbolic weight of Western civilization.

    I worried it might even be more daring than anything I would currently risk publishing in a blog, let alone attaching to an application packet destined for the Gates Cambridge Foundation, whose reviewers, I assume, prefer their ambition tempered and their metaphors well behaved. And yet, there is something disarming about the younger voice. It is less cautious. Less aware of genre boundaries. It stands in a museum and immediately attempts to converse with Shakespeare, Ovid, stratigraphy, and cultural memory all at once, without asking permission.

    Which brings me to the entry itself, preserved exactly as it was written, like a ceramic vessel unearthed intact from beneath several layers of academic self-editing:

    And such a wall as I would have you think

    That had in it a crannied hole or chink,

    Through which the lovers, Pyramus and Thisbe,

    Did whisper often, very secretly.

    This loam, this roughcast, and this stone doth show

    That I am that same wall. The truth is so.

    Shakespeare recalls Ovid’s Metamorphoses with a scene of a Wall speaking to King Theseus of Athens in A Midsummer Night’s Dream.

    I stand in Athens, towering above are the gleaming walls of the new Acropolis Museum, and around me are remnants of rough stone walls, which myth suggests were laid by Theseus. Here I am located at a point that is at once the past and present, a crossroads of my own, Greek, and broader European history. In fact, I stand on a clear glass floor at the entrance of the new Acropolis Museum. In a room beneath my feet is an in-progress excavation, where the systematic removal of soil reveals ancient houses emerging from the strata. The ruins give scientific data about the past, and also relate tales of accumulated cultural meaning. Throughout history, the voices of ancient walls gain new meaning and are reanimated by writers and artists, such as Shakespeare. I have always found the frame performance of Pyramus and Thisbe within A Midsummer Night’s Dream to reflect complex layering of cultural history and the way that objects help us understand it. Ovid’s tale in Latin is fascinating, but Shakespeare’s version explores the tale’s transmission through Classical, Elizabethan, and finally, with our viewing, modern culture. I’ve found in my travel, study of language, and investigation of art, that cultural history is a long narrative, where the continuous accretion of meaning gives material objects, such as Shakespeare’s comical Wall, the ability to speak truths in ever-changing time. As Chris Gosden and Chantal Knowles write in Collecting Colonialism, “objects…are always in a state of becoming, and this is true not just when produced and used in their original cultural context, but once collected and housed in the museum.” Present cultural significance is always built on ancient foundations, and the Acropolis Museum, like a frame story, acknowledges its location in the historical continuum with the invitation for guests to look up at modern walls and beneath their feet at the stratigraphic past. Museums reflect cultural truths as they act as both repositories of memory and residences for civil discourse about what material culture continues to mean. My layered experiences brought me to Athens, to museums, and to the combination and culmination of all my interests: to the study of material culture and the threshold of a future examining these issues as an academic and museum curator.

     


  • Ten Years of Arts and Cultural Criticism in the American Southwest (2015-25)

    Field Notes: Ten-year anniversary image

    I get older; the art stays new.

    This year marks ten years of writing arts and cultural criticism in (and around) Utah. It’s been a long, slightly chaotic labor of love and it’s given me more than a publication list. Writing became a way into rooms I didn’t yet know how to enter—openings, rehearsals, studios, back corners of galleries, community meetings. Over time, it gave me people too: friends, collaborators and others who cared enough to keep showing up. In a place where arts infrastructure is often held together by duct tape and determination, the work mostly looked like paying attention, writing things down and trying to help hold space where the official record thins out.

    One stat that sticks with me: Utah has fewer museums per capita than any state except West Virginia, an unglamorous fact that explains a lot about why cultural memory here can feel so easily misplaced. I thought about that again while reporting on the B’nai Israel Temple’s next life as the Salt Lake Art Museum (SLAM), a project led by Micah Christensen and slated to open in 2026. The building’s survival is, in many ways, a case study in how rare cultural preservation can be in practice. (Read more here: “The Salt Lake Art Museum (SLAM) Finds Sanctuary in the Temple”.)

    Field Notes: Ten-year anniversary image

    What follows is a year-by-year chronicle pulling a few representative pieces per year and the themes that kept returning: meaning-making and collective rupture; heritage and community memory; abstraction and early modernism’s long shadow; and the ongoing work of paying attention to people and places that get minimized, misread, or politely ignored.

    2015 — War, memory, and what remains
    2015 image

    My earliest arts writing was already circling questions that would stay with me: how societies remember violence, how trauma echoes across generations and how performance becomes a space for processing what cannot be easily narrated. In 2015, I found myself repeatedly drawn to work shaped by war — sometimes historical, sometimes contemporary, often refracted through humor, ritual, or psychological displacement. Even then, criticism felt less like judgment than like translation: an attempt to make visible the emotional labor embedded in cultural production.

    What interested me most, even then, was not spectacle but aftermath: how violence lingers in bodies, language and staging long after the event itself has passed. I was beginning to understand writing as a form of witness — one that sits with discomfort rather than resolving it — and that orientation quietly shaped everything that followed.

    Together, these pieces trace an early interest in how art metabolizes collective violence — whether through solemn memorial, absurdist comedy, or intimate portrayals of PTSD — an interest that would later expand beyond war into broader questions of community trauma and historical inheritance.

    2016 — Objects, pilgrimage and the weight of time
    2016 image

    By 2016, my writing shifted decisively toward material culture and deep time. Across exhibitions of painting, sculpture, photography and mixed media, I became increasingly attentive to objects as carriers of memory — whether geological, cultural, or spiritual. This was also the year I began writing more explicitly about heritage without nostalgia: how artists engage with tradition, ritual and landscape without romanticizing them. I became less interested in artists’ stated intentions and more attentive to what objects themselves seemed to remember—how time presses into form and how place leaves a residue that can’t be fully aestheticized away.

    These essays mark a growing preoccupation with duration: fossils, pilgrimage routes, Indigenous histories and sculptural forms shaped by both Eastern and Western traditions. Rather than treating art as isolated expression, I increasingly approached it as evidence — of time passing, of belief systems persisting and of place exerting quiet pressure on form.

    2017 — Abjection, Abstraction and cultural hierarchies
    2017 image

    By 2017, my writing had turned more directly toward questions of cultural value: what is permitted to count as “serious” art, what is dismissed as decorative or domestic and how those judgments intersect with gender, labor and popular culture. Alongside a growing interest in abstraction and contemplative withdrawal, I began interrogating hierarchies that shape both artistic production and reception — particularly where animation, illustration and domestic narratives are concerned. I was also becoming more conscious of how criticism participates in gatekeeping — how language can reinforce or challenge the invisible borders between “high” and “low,” public and private, serious and sentimental.

    Across these pieces, decay and accumulation sit beside care, repetition and craft. Whether addressing refugee loss through mass-produced objects, challenging the exclusion of animation from “high” art discourse, or examining domestic life as a site of artistic rigor, this year marks a clear shift toward analyzing how cultural systems assign meaning — and whose work is allowed to carry it.

    2018 — Abstraction and the edges of the built world
    2018 image

    In 2018, my writing narrowed its focus rather than expanding it. Instead of surveying many threads, I spent more time with abstraction and with environments that sit just outside formal boundaries — urban margins, hybrid spaces and visual languages that resist narrative explanation. This was a year of thinking about structure: how meaning emerges when stories recede and attention shifts to form, material and spatial tension. Abstraction became a way to think spatially rather than narratively: to read environments, surfaces and systems without forcing them into story.

    Both exhibitions investigate what happens when order breaks down or gives way. In Ditchbank, the overlooked wilderness at the edge of the city becomes a site of negotiation between human control and organic persistence. UMOCA’s survey situates abstraction as a deliberate refusal of inherited narratives, emphasizing instead the artist’s creation of personal systems and visual codes.

    2019 — Systems of meaning: vision, myth and inherited structure
    2019 image

    By 2019, my writing had moved decisively toward systems — how meaning is produced, transmitted and disrupted across families, myths, technologies and landscapes. Rather than focusing on isolated works, I became increasingly interested in how artists construct visual languages: photographic processes revived and altered, myths reassembled, family narratives fractured and reconnected. This was a year defined less by subject matter than by structure — how stories are built and how they fail. I was increasingly drawn to artists who treated myth and family not as origins to be honored, but as structures to be tested.

    Across these pieces, vision is never neutral. Alternative photographic processes foreground the mechanics of seeing itself; family relationships become the syntax through which reality is interpreted; myth operates as both inheritance and provocation; and landscapes are rendered not as scenery but as lived systems shaped by labor, memory and movement.

    2020 — Collective rupture and marginalized realities
    2020 image

    In 2020, my writing became inseparable from collective rupture. The pandemic did not affect communities evenly and much of the cultural work I was drawn to that year confronted this imbalance directly — foregrounding voices, experiences and realities that had long been present but were now impossible to ignore. Criticism shifted from interpretation to accountability: paying attention to who bears risk, who is seen and how art registers unequal pressure. The urgency of 2020 stripped criticism of any pretense of neutrality; to document art honestly required acknowledging the unequal conditions under which it was made, shown and received.

    Across these pieces, art functions as a record of strain rather than escape. Screendance reframed movement through mediated formats at a moment when access and visibility were uneven. Luxor traced the emotional residue of humanitarian labor and prolonged conflict. Virtual public art initiatives revealed how civic meaning could be sustained while public space itself became contested.

    2021 — Care, heritage and cultural survival after the pandemic
    2021 image

    In 2021, my writing remained shaped by the aftershocks of the pandemic, particularly its uneven impact on marginalized communities. Rather than moving on from crisis, much of the cultural work I engaged with that year confronted its residue: who had been asked to absorb loss, who stepped into care roles and how art and community organizing became tools for survival, memory, and resistance. What emerged most clearly was care as cultural infrastructure, often improvised, frequently under-resourced and rarely celebrated.

    Together, this writing reflects a year focused less on recovery narratives than on cultural endurance — how communities protect meaning, memory and space when institutional support proves unreliable.

    2022 — Violence, land and the limits of inheritance
    2022 image

    By 2022, my writing confronted the accumulated pressures that had been building across the previous years: violence embedded in land use, gendered vulnerability, nationalist mythmaking and the ongoing consequences of colonial and migratory disruption. Rather than focusing on recovery, this work stayed with what remained unresolved, asking how history, ideology and environment continue to shape whose lives are protected and whose are exposed. This year solidified my understanding of land as an active force rather than a backdrop, history continuing to structure belonging, vulnerability and risk.

    Across these pieces, land and identity are inseparable. This writing stays with structural violence, how it is inherited, normalized and resisted, without forcing closure where none exists.

    Interlude — Stepping away from the page (2023–2024)

    After 2022, my public-facing arts criticism paused. This was not a retreat from cultural analysis, but a redirection of labor into professional writing, institutional work and foreign exchange–focused research that sharpened my understanding of systems, power and narrative framing in different registers. The questions driving my criticism, how meaning is produced, who bears risk and how communities survive long pressure, did not disappear. They moved into other forms.

    When I returned to long-form cultural writing in 2025, it was with a clearer sense of synthesis: how a decade of arts criticism in the American Southwest had quietly become a foundation for broader historical, cultural and interdisciplinary work.

    2025 — Return, synthesis and the quiet work of community
    2025 return image placeholder

    When I returned to publishing arts criticism in 2025, it wasn’t a restart so much as a re-entry, with sharper tools and a clearer sense of what I’d been tracking all along. After years of professional writing centered on systems, risk and institutional language, I came back to art with an increased sensitivity to structure: how communities preserve memory, how spaces accrue cultural meaning and how abstraction and design can carry ethical weight without announcing themselves. Returning with distance made visible what had been there all along: the most durable cultural work often happens without fanfare — through stewardship, sanctuary and consistency rather than spectacle.

    Together, these pieces mark a mature phase of my criticism: attentive to marginalized histories and cultural preservation, alert to the ways identity and expectation shape perception and drawn to practices where clarity and reduction become forms of seriousness. If earlier years were about locating the stakes — rupture, myth, power, inheritance — 2025 is about mapping what endures: the institutions that create refuge, the artists who make perception strange enough to see it and the quiet organizers who turn community into something tangible.

  • Calumet: Layers in Stanley Kubrick’s The Shining

    Calumet cans symbolic opening image

    I’ve always found that my strongest connection to Macbeth comes through horror — an angle that still feels somehow overlooked, given how often the play leans toward the campy, the uncanny, and the animated in its shifts of tone. Macbeth sits quietly at the foundation of the genre, yet many modern adaptations treat it as a straightforward story of political unraveling, closer to Henry VIII than to anything resembling proto-horror.

    It was this elasticity of tone that drew me, years later, to Stanley Kubrick’s The Shining, a film that treats horror the way Shakespeare does — as an atmospheric logic rather than a genre, something woven through space, timing, and the emotional weather of a place.

    Macbeth reaches toward a kind of supernatural tension and psychological disorientation that wouldn’t have a formal vocabulary for centuries. Shakespeare mixed genres, but film adaptations rarely capture the quick shifts of atmosphere that live theater makes possible — the in-and-out changes of set and mood that can feel like flipping channels on a strange television broadcast, or listening to a radio station mixed in real time by an unseen DJ.

    1990s animated Black Cauldron style reference

    “Come, Graymalkin!” — the line holds an eerie shimmer like the dark animated films from the late ’80s-90s. They’re threaded with folk magic, shadowy forests, grotesque little jokes, and a touch of menace too sophisticated for their intended audience. See The Black Cauldron (1985) promo image above.

    At its core, Macbeth is a play of tonal whiplash: ragged prophecies delivered on a blasted heath, followed moments later by a drunken porter cracking bawdy jokes at the castle gate; flashes of supernatural spectacle punctuating long, politically anxious speeches; strange bursts of color — torches, blood, banners — interrupting Scotland’s fog. Shakespeare’s tragedy is not one clean descent but a jittery collage of horror, comedy, and moral vertigo. It behaves less like stately history and more like early camp horror, the kind that delights in theatricality while letting the uncanny slip in through the seams.

    Living inside a haunted world

    Kubrick understood that texture instinctively. Where Shakespeare used rhetorical shifts, Kubrick used décor, framing, and the rhythm of movement through space. His haunted world is not a set of plot devices but an environment you live inside. The Overlook behaves like a theatrical stage expanded to architectural scale: carpets in impossible colors, hallways that seem to inhale and exhale, sudden intrusions of grotesque comedy (the man in the dog suit, the relentless cheer of the bar), all arranged to make the viewer feel not that they are watching a haunted hotel, but that they have been quietly checked into one.

    The rules of realism loosen and tighten at odd intervals — just as in Macbeth — and that playfulness with tone is what gives both works their durability. Horror becomes a lens, not a genre: a way of understanding mood, memory, and the fractures in our perception.

    Maybe that’s why Room 237 — Rodney Ascher’s documentary built from the voices of Kubrick theorists who never appear onscreen — has become my favorite documentary. I rewatched it last night, and it still carries the same strange, absorbing quality it had the first time. The film allows you to wander back through Kubrick’s environments, touching the walls, following the impossible geography, noticing small shifts in color and continuity the way a guest might sense a draft in a sealed room.

    237

    The disembodied commentators move through those spaces like resident spirits — guides who never quite manifest — letting their interpretations drift between the improbable and the unexpectedly revealing. Their voices echo over long, immaculate stretches of footage from The Shining, Eyes Wide Shut, and Kubrick’s earlier films, until the documentary begins to feel less like analysis and more like haunting. For anyone attuned to Kubrick’s sensibility, the film’s rhythm settles in quietly, as if it has been waiting for you to return.

    The rooms we return to

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    Last month, I wrote about my mother’s attempt to buy a small business and acred property just outside the Black Canyon of the Gunnison  —  one of those rare corners of Colorado that feels both remote and instantly magnetic. I connected to the land far more quickly than I expected: the stillness, the open sky, the way the air cools as the canyon drops away. I had already begun imagining the winter there  —  skiing Telluride on weekends, learning the slower rhythms of the towns tucked into that landscape.

    We were set to arrive on October 31st, Halloween. The timing gave the whole experience a kind of playful electricity — packing boxes, sketching out plans, and sensing that faint atmospheric tilt that comes right before entering a new story. It had the early-Shining quality of anticipation rather than dread, a sense of stepping into a place that felt both familiar and a little uncanny.

    Then the government shutdown halted the federal paperwork the sale depended on, closing the door as abruptly as it had opened. When I watched Room 237 again last night, the footage from The Shining carried the kind of clarity that only arrives after you’ve witnessed something life-altering — like Rowling’s moment in Harry Potter and the Order of the Phoenix, when Harry suddenly sees the thestrals, creatures that had been there all along but invisible to him until he had witnessed death.

    Symbolic doorways and ruptures

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    In Room 237, the documentary hinges on a small but important thematic arc: the shift from Danny’s innocence to his initiation. One narrator lingers on the Dopey Disney sticker on Danny’s bedroom door — “he’s ignorant, or a dope” — marking the before moment of a child who hasn’t yet been shown the world’s darker layers. Later, when Tony — Danny’s finger and his inner voice — reveals the vision of blood pouring from the Overlook’s elevator doors, everything changes. That image becomes the after: the moment when he is forcefully given knowledge, or a new reality, that he can’t return from.

    Tellingly, the Dopey sticker quietly disappears by the time his worried mother and the pediatrician sit discussing his strange behavior — its absence a small but unmistakable sign that the threshold has been crossed.

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    Something the Stephen King book captures better than the film is the Overlook as a wind-up mechanism of its own — part snowglobe, part labyrinth. Danny’s presence doesn’t just perceive the hotel; it activates it, winds it into motion. Kubrick gestures toward this in his opening aerial shot: a benevolent, almost angelic vantage point following the car through the mountains, as if some unseen witness is watching over Wendy and Danny as they approach a building already preparing itself.

    Colorado’s unquiet ground

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    Environments and landscapes are living things. They hold competing interpretations, overlapping needs, and layers of history that rarely agree with each other. Kubrick understood this instinctively. In The Shining, he suggests the repressed and the grief-stricken without accusation — introducing the violence beneath the Overlook, including the history of Native genocide and displacement, not as a lesson but as an atmosphere. He allows the viewer to slip into the world as a local might: aware of something unsettled beneath the surface, but also aware of the beauty and strangeness that coexist alongside it. From what I’ve read, Kubrick learned things while researching in Colorado that stayed with him and haunted him — difficult histories that reframed the landscape in ways he didn’t expect.

    I’ve only scratched the surface of that material myself, but I understand the feeling: how the trauma embedded in a place can be almost drowned out by the sweep of desert sky, the brightness of high-altitude light, the resilient life of the region. For Kubrick, the Overlook wasn’t just a set — it was a door to secret knowledge, and stepping through it was its own kind of initiation, as horrifying as it was illuminating.

    Erasing the image, losing the memory

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    I’ve long questioned the wisdom of removing Native American imagery — especially Native-produced brands and symbols — from public view, whether in sports or on packaging. Erasure solves nothing; it tears something vital away from cultural memory. We lose an opportunity for shadow work, for reckoning with dark heritage, when we strip away the images that remind us of the histories beneath our feet. Symbols need room to exist in a neutral space so they can be understood, not feared or hidden. Without that, we risk weakening our collective imagination — and our ability to remain mentally healthy in the face of the past.

    Colorado has always complicated these questions for me. It is one of the few places where I feel the beauty of horror without flinching — where the land itself teaches you how to hold darkness and radiance at the same time. The high desert has a way of making even grief look illuminated: red rock catching fire at sunset, abandoned mining sites dissolving into wildflower meadows, old histories rising and fading in the same breath.

    Each time I’ve lived near or traveled through Colorado, I’ve felt that double vision settle in — the sense that a place can be breathtaking and wounded at once, and that my role is not to sanitize that tension but to sit with it. Horror, in its best form, does the same thing: it lets the truth stand in its full shape, neither prettied up nor pushed away. Maybe that’s why I return to The Shining so often. Its terror is threaded with beauty, and its beauty refuses to hide the cost of what it remembers. Colorado feels like that too: a landscape that insists on being seen whole.