Words Speak Louder than Clicks

Lately I have taken to calling my peers, collectively, “Generation Flake.” My writing today, and the response (or, more likely, lack of response) it elicits, should be an answer to this query:

Is this epithet warranted?

Flakery – which I’m going to define as habitual failure to follow through on social commitments – is like a new piece of tender in the social economy: we all accept it. And by “we,” I mean the people who are living on their own without children. We may claim to hate flakery, but at the same time, most of us keep it in our back pocket – myself included.

Before writing this, I wanted to make sure flakery wasn’t peculiar to my own social circle. So I ran it by my friend’s brother. I said, “Do you feel like people just don’t show up to things anymore? Like, do your friends say they’re going to do something, and flake at the last second?”

He said he was guilty of it. Actually, he said he does it so much, his friends started calling him Bailin’ Ben.

I know, you guys. I know. With a slew of in-home entertainment options (and their sunk costs), it’s tempting to be lackadaisical in our free time. The effort it takes to stay inside with a movie or a book or a game is as close to the x axis as it gets – easier than going outside to be with people. And the list of potential scapegoats is well established: Weather. School/Work. Sickness. Tiredness. Lack of funds.

But flakery is a problem, and here’s why:

  1. It makes people feel unimportant in a concrete, nondelusional way. The flake implicitly denies that other people’s lives are as real and as important as their own.
  2. It replicates like a virus. By flaking, you give license to others to do the same. And even if you don’t flake, you make it socially acceptable by accepting it.

It’s no longer particularly weird for people to not show up to an event. With some, it’s gotten to the point where you’re more surprised when they do show up.

Now let me say that I don’t believe most people are so inconsiderate as to make plans with the intention of flaking, but they probably do commit to things that they’re ambivalent about, knowing they can easily fire off a text message a couple hours before the scheduled engagement or post an apologetic message on Facebook the following day. YEAH: Like so much social commentary, this one’s about to turn to the Internet.

The Internet is interesting. As a source of information and entertainment, it’s decimated our need for one another, and the social networks dull the pain of that loss by making us feel like we’re still maintaining a social life, just online.

But on Facebook, no one ever says “Guess what happened today?” like they would to a person. They just go straight for the report.

And no one ever asks “Who’s the richest woman in the world?” or “What time do the Packers play this week?” or “Who won the Wisconsin Senate race?” because they can just look it up and get the answer with more authority in less time and with less ego risk than it would take to pronounce the question and listen to someone answer it.

We all know that we’re interacting with real people when we use Facebook or send a text or email. But it’s like that knowledge is abstract, trapped in the intellect; and I make that assertion because online communication has taken on qualities – intermittent, coded, self-centered, lexically deficient – that we would use to communicate with machines. Tangibly, we are contacting mere machines. And using an electronic medium necessarily means that we are not there to see the person when they receive the message, which further undermines the human property that was supposed to constitute the very crux of communication.

And this brings me to the next thing I want to address: awkwardness.

Lately – like in the last four years or so – I’ve heard a lot of people refer interactions as “awkward.” These incidents are almost always in real life, which is the term I’m going to use to distinguish palpable life from the 5+ other iterations (Facebook, Twitter, OKCupid, Tumblr, texting, etc.).

Awkwardness is especially frequent in a society like that of the United States, where social conventions are suspect (too Continental?) and being polite is less important than being downright “real,” particularly if you’re under the age of 30. Our slate is, while nowhere near blank, sparsely filled: we don’t have strict scripts to follow, and the scripts we do have are being cast aside in favor of some socially sanctioned form of disingenuous candor borne of the cult of “not caring what people think.”

But with or without decorum, life is full of awkward situations: tripping on a rogue sidewalk slab. Being called the wrong name. Asking a woman who’s not pregnant when she’s due. Walking into an unlocked bathroom to see that someone’s already sitting there. Asking someone to repeat themselves more than twice. Waving to someone who doesn’t see you. Waving to someone who was waving at someone else. Saying “I love you” and getting “thanks” in return.

Real life is unpolished and always will be. No matter how far social technology advances, real social life cannot be engineered, only avoided. In the physical world, you can’t blatantly ignore a question or invitation; you can’t respond to things at your leisure; you can’t refine every message until it says what you want to say.

I feel like no one ever talked about the awkwardness of social interactions until about five years ago. It’s like we crossed a threshold where the majority of our interactions were electronically mediated, which put the unprocessed nature of face-to-face time – something we never noticed before – into sharp relief.

Our awareness of and aversion to awkwardness is made worse by the fact that oftentimes there’s no particular moment where you meet a particular person. By the time I encounter people in person, I’ve often already come across them in one of their other iterations. This leads to one or both of the following problems:

  1. Preconceptions. That in itself isn’t really different from the past; you might have a mutual friend or acquaintance and what you hear from them could inform your opinion. But here’s the new part: it’s possible, if not common, to hear about a person from the person himself before you meet him or her. Example: one of your friends is friends with the person on Facebook, so you’ve seen the profile. A more overt example: you read a person’s online dating profile before you date them. The preliminary information’s substance and style, content and context, are written/photographed by the most highly interested and positively biased author possible. That is new.
  2. Bona fide awkwardness. This arises because the moments of “Hi, my name is Molly,” and “This is so-and-so,” and “Nice to meet you” are increasingly rare. Rather than an introduction at a defined point in space and time, our entry into other people’s lives is more like an infiltration. It’s particularly noticeable to me at work, where I use chat to communicate as needed with an ever-changing handful of people in my department, learning their names and avatars, and developing a shadow of familiarity, a superficial/artificial rapport built on excessive !s and :) s to express the fact that I’m on their side.

But by using the avatars, the photo directory, and general inference, I put the names with the faces over time. And still, almost every day, I get onto the elevator with someone whose name I know and who knows mine, but we act like we don’t know each other, because we’ve never formally met. And once you’re in that inert social space not between two undisputed strangers but between acquaintances who are uncertain of their acquaintance, it is very hard to get out.

But it’s not hopeless. I know because, one night not too long ago, I went to the office to get a pair of shoes, then got on the elevator with a writer who had just finished working. I made some comment like “Long day?” We made small talk about how late it was, and eventually she said, “Molly, right?”

I felt relieved and strangely validated: she acknowledged that the person she occasionally chatted with online was the same person now with her on the elevator. I had an idea of her name too, so I said it, with a reciprocal question mark. (Fortunately I was right.) We smiled in earnest and wished each other a good night as we stepped off the elevator.

I think this occurred mostly because we were willing to engage one another: for once, two people got on an elevator and no one went straight for their phone. The hour was off, the weather exquisite, the work done, the shoes secured. I told myself to hold on to that feeling, to remember how low the stakes actually are in these quotidian situations. Really. We could make this postmodern excuse for a social life so much better if we just did one thing: Say “hi” in real life.

Further reading:

WikiHow: how to avoid being socially awkward

WikiHow: how to deal with a flake

Oak Park, Illinois

You go to Oak Park as a child, six times a year, to visit your grandparents. About half of those times you drive into the city, 10 miles in your grandfather’s Cadillac or your mom’s Volvo wagon, where she’ll turn on XRT and you’ll hear music made by people just a little older than you – 15 years, then 10 – and wonder what you’ll be doing at their age. Making music? It could happen.

“That was The Wallflowers with ‘One Headlight,’” the DJ declares.

Four years later you’re in Chicago again, you’re in 6th grade, you’re cruising down the Eisenhower back to Oak Park. The Volvo now has a third row of seating, in the trunk, facing backward. That’s where you’re sitting, watching the Sears Tower and the Hancock building shrink as the wagon carries you west.

“That was Matchbox 20 with ‘Mad Season,’” the DJ declares.
Middle school ends and high school begins, and then your mom has to press you a little harder to spend a weekend in Chicago. Sorry. Oak Park. She’s still in charge, so (barring some babysitting job) you always end up going. You don’t want to go because you’re afraid of missing something huge, like a party at the house of some acquaintance whose parents are away that will include all your friends as well as that guy you like who has never actually spoken to you. Your dad asks you what you’re so afraid of missing and you just roll your eyes and say, “Fine, I’ll go.” And you see your grandparents and you don’t miss anything at all.

You graduate from high school with minimal pomp and continue your education in Oregon because you wanted to get away from winter, your favorite band resides there, they have a reputable journalism school, and, well, they accepted you. You fly back home each December and summer and spend each Christmas in Oak Park. In 2009, you and your brothers go into the city to spend your Barnes and Noble gift cards, and that’s when you first see Trump Tower, towering over everything except the big shoulders. You get the same feeling you had as when you were at a party the previous weekend at the house of some acquaintance, also home for Christmas, where a guy who was unremarkable when you were children showed up and suddenly seemed very, very intriguing.

A year later you graduate from college and start competing with the 400 others who just got your same degree for the seemingly eight journalism jobs available in northwest Oregon. Your mom calls one day and asks how the job search is going (not well) and whether you would consider taking up residence at your grandparents’ house in Oak Park and trying your luck in Chicago, where your particular education was not quite so ubiquitous.

At this point you’re fairly confident you’re not ever going to make music or write plays or design clothes. It’s 2010, and you just need an income. You buy the first one-way ticket of your life and land in Chicago in the middle of July. Your grandparents come together to collect you from Midway and drive you back to their house, where you tell them you love them, claim a room, close your eyes, and fall asleep to the bracing peace of knowing you’re at the center of the circle formed by all the points that could be your life.

Kid, You are Newsworthy

Ride enough buses and as the wheels go ’round, you’re bound to encounter someone endearing.

Last Thursday it was a little boy, probably 5 years old, who started singing (without prompting) “The Wheels on the Bus” on the bus, four verses, on what sounded to me like pitch.

1. The wheels on the bus go ’round and ’round.

2. the driver on the bus says “move on back.”

3. The babies on the bus go “wah, wah, wah.”

3. The mommies on the bus say “shh, shh, shh.” (If only that were true….)

Wikipedia, with uncharacteristic drollery, says of the song: “It has a very repetitive rhythm, making the song both easy for a large number of people to sing, as well as having the potential to infuriate adults as chorus after chorus drones on, in a manner similar to the song ’99 Bottles of Beer.’”

Potential to infuriate? What? This kid was in gross contrast with the usual busfellows: elders with chronic coughs; women who get on, take up two seats, and get off two stops later; young men telling their Nextels how hard they’re going to ball once they get into the studio; girls with duckface reading The Girl with the Dragon Tattoo; middle-aged men with eyes glued to small screens; middle-aged men snorting lines in the back row (okay, that was only once).

I’d take him over Chris and Lance any day.

A Real Human Being

I witnessed something a few weeks ago that made me realize I have a way to go before I can rightfully call myself a good person.

I was at a street festival, standing at the periphery of the crowd that had gathered to watch The Antlers. It was about 10:30 p.m.

A kid—and by “kid,” I mean a male in his early 20s— was sitting on the curb with his arms folded across his knees and his head resting on his arms, hiding his face. To me he looked either acutely upset or black-out drunk. Possibly both. Those of us standing nearby couldn’t help but notice him, but we let him be, because this is America.

I looked over about 15 minutes later and saw that the kid had tipped over and was now laying on his side on the curb. Ideally positioned for a stepping-on, he was not enjoying himself at all.

A kid a few feet away came up to him and asked if he was okay, which he affirmed, trying not to draw attention to himself.

Later on, when I was fully engrossed in Atrophy, a man entered the picture. And by “man,” I mean a guy about 30 years old, tall and light-haired, looking confounded.

“Seriously?” he said. About 20 people, including myself, turned around to look at him.

“So no one’s going to do anything.” He stated it, as if to see whether anyone would correct him. No one did.

The man crouched down and shook the kid’s shoulder.

“Hey man, you okay?”

“Yamokay,” the kid mumbled, same as before.

“Here,” said the man, putting his arm under the kid’s arm and hoisting him up so that he was, somehow, standing. The kid swayed a little. The man looked at him square in the face and said, “I’m gonna get you out of here.”

The kid muttered something. The man gripped his shoulder, led him to the nearest storefront, and patted him on the back before coming back into the crowd.

So that’s what you’re supposed to do. I exchanged unproud glances with the people around me. It seemed that most of us were experiencing the same feeling: that this man was our moral superior, that we wanted to acknowledge him but weren’t even worthy of that.

My instinct to stay out of other people’s problems and lives is strong to a fault. It’s the one quality that has made me resistant to a journalism career. I don’t like explaining myself, and so I don’t feel right asking other people to explain themselves unless they feel inclined…and a good story rarely comes that easily.

And weeks ago I learned an even more damning truth: that this isolationist instinct is undermining my humanity. I want to be like the guy who pulled the kid from the curb, who didn’t alert security, who helped him get back on his feet in the least disruptive, yet most impressive, way possible. He left an impression on everyone who saw; the kind of impression that, yeah, made me want to know him, but also made me think about myself in a way I’d rather not. Uh oh.

Direct More

Greetings, earthlings. I have just returned from a faraway land in which I was editing a book (Capitol Changing by Mary Walters, available this summer). Between that and my regular job, my desire to read/write was completely sated for about three months.


Though I won’t end with the answer, I’ll start with a question:

Can The Avengers, The Hunger Games, and other high-grossing movies be interpreted as significant indicators of the economic health of the U.S.?

If The Hunger Games can rake in $155M domestically its first weekend, and The Avengers can exceed that (at $200M) just a month later, I’m not convinced that the middle class is really hurting.

Okay, I just said that to be annoying. But it’s a path of inquiry I would still like to follow.

A friend and I once hypothesized that a lot of problems could be solved if just one summer blockbuster — like The Avengers — was produced and marketed with 100% of profits not being profits at all, but being used to underwrite the solution to some persistent social or environmental ill. Getting millions of people in the U.S. and millions more throughout the world to give $10 to the same cause at approximately the same time is a nearly impossible task, but getting them to give the same in exchange for a few hours in front of yet another screen requires no more persuasion than that which a few fights, explosions, and good-looking actors can provide.

This is probably the part where everyone who’s older and wiser than me starts snickering. A nonprofit blockbuster could never happen because profit is the only thing that motivates these people to make cool movies in the first place, right? And a lot of Hollywood guys and gals give to charity anyway. They shouldn’t be coerced into working for nothing . . .

No, they shouldn’t. But think how interesting it would be. The movie wouldn’t have to be anything related to the cause it was serving — e.g., if Avatar’s profits went toward protecting rain forests and indigenous cultures — rather, the aim would be to make as cool of a movie as possible (The Dark Knight Rises?) and unleash it on the world, which would be informed of its intent.

Here’s how it might play out: The actors, of their own free will, would agree to take a normal payment for their labor — say, $50 an hour, as opposed to the $50M Robert Downey, Jr., stands to make from The Avengers — and the writers, editors, film crew, and producers would take similarly modest sums. FOR ONE MOVIE.

Then, after a marketing campaign augmented by free social-media exposure (and free regular-media exposure…gotta make the parents look good!), some outrageous number of people would pay $8 a pop to see the film ($13 if it’s in 3-D). I know this would happen because an outrageous number of people went to see Pirates of the Caribbean: On Stranger Tides.

Those who contributed their talents to the film would be paid as I just described, the theaters would get their cut, and then something really bad would have a chance to get better.

But.

One of the challenges with this idea is finding a cause that most people agree is worthy. There really aren’t many like that. But I think homelessness is a cause that most of us — excluding those with blind faith in “bootstraps” — could get behind. So I will use that as the hypothetical benefactor.

Every time I’m walking in downtown Chicago, five days a week, I see homeless people. It’s almost always the worst part of my day. I feel bad if I ignore them, and sad if I think about them. Giving them money makes me feel slightly better about myself for about a minute, and no better about the world. I wonder how many people are homeless because they really messed up, and how many are out there because they were born into a bad situation or are the recession’s collateral damage. I don’t know.

Just imagine, for a moment, that Inception, which cost $160M to make and grossed $832M worldwide, was produced, marketed, and consumed under this premise. That means $657M (minus a few million for peripheral costs that I don’t understand) would go toward constructing shelters and procuring modest food supplies for people who have neither. That seems so worthwhile.

And, consumers, you will still enjoy the same experience you always did. Actors, directors, Hollywood minions — you’ll still be taken care of, while taking care of something else. Not everyone has such a grand opportunity.

If this is possible, someone needs to do it. James Cameron, Steven Spielberg, George Lucas, Tyler Perry, Wes Anderson, Joss Whedon, Gore Verbinski, Quentin Tarantino, Michael Moore, do it.

If it’s not possible, tell me why.