Tweeting at the End of the World

An Elegy for Twitter, as It Goes the Way of All Flesh

I think about quitting social media sometimes, like many of you probably do. I was a late adopter (and still, to this day, have never had a Facebook account), but after jumping in, the tropes of wasted time and distraction resemble my habits a bit much for comfort. This idea, though, keeps me around: “Attention is the rarest and purest form of generosity” ~ Simone Weil.

Now, amid the slow-motion bulldozing of Twitter‚ the platform that finally drew me out and sucked me into this world, I’m realizing just what a gift that attention is. Many others have written persuasively on why they’re staying (for now), in the midst of the takeover and dismantling of much of what made it the quirky and crazy place it has been. I want to add a few notes to the chorus.

The People You Meet
Lots of hay gets made about how too much of our lives are lived in self-created echo chambers. Tired of hearing things that call our identitarian beliefs and habits into question, we sort into ever-splintering groups that close us off from encountering opposing views (and the humanity of those who hold them). Twitter has always had tools that facilitate that habit but just as many features that break it down. In short, it has been a place that helps me attend to those I might otherwise not encounter.

It has put me in touch with so many folks I can’t easily connect to in other ways, and spawned or deepened more than a few friendships that spill over into offline life. It introduced me to subcultures that focus less on pushing out opposing views and more on discussing the world as it is through a particular set of interests. History, Publishing, Poetry, Literature, Psychology, or Theology Twitter are some key spaces, but there’s also Theater, Ornithology, and Satire Twitter, and of course Weird Christian Twitter.

Each of these subgroups invests time and attention and, dare we say, love, into the discourse around their discipline. Sure, there are bad apples in each, and they are not ordinarily filled with sanctified conversation, but I’ve learned so much and been stretched by the people who have given me and countless others the generosity of attention when we want to know more about what they are most passionate and wise about.

This is not even to mention the lifeline Twitter has been for activists, resistance groups, abuse victims, and so many others to gain a hearing. Some have to clamor for attention denied. As Kyle J. Howard put it, “Marginalized folks…have built community [on Twitter]. It’s provided them a voice to cry out against abuse/abusers as well as challenge systems. Including people and systems now in power over it.” But, he adds, “If you aren’t invested and you have power…[goodbye],” lamenting the quickness with which many celebrities, politicians, and academics have bailed since the platform’s takeover.

Twitter as Window and Mirror
Perhaps the thing I’ve come to value Twitter for most is its ability to predict character.

Whatever else someone may say in books or articles or on a stage or from a pulpit, their behavior here is most telling. It’s not even necessarily the words (though sometimes those, too), but the ways they handle responses (whether they are trolls or “dunkers”), what they share offhandedly about their non-professional interests, etc., are all very revealing. These behaviors are often disqualifying, especially for people in positions of influence or leadership in churches or other (putatively) Christian spaces.

This flies in the face of much of the conventional advice on managing a social media presence. We’re regularly warned of the temptation to “stage-manage” our lives, cultivating the image we want others to see (and then letting that image govern our in-person interactions, too). This can be a real risk, but on Twitter it’s most often worked in reverse. It’s a place where we are tempted to vent our spleens, rhetorically pound adversaries, and trash-talk for the adulation of our friends. We feel these urges in other places, too, but because “Twitter is not real life”—an excuse more than a truism, even if the majority of people in the world and the majority of our neighbors and colleagues aren’t on the app—we feel free to act.

To be sure, many things that animate conversation on Twitter have little bearing on daily concerns at home, work, and church. Except that the people we allow to disciple us through books, pulpits, TV appearances, podcasts, etc. are there, and often behave in awful ways. I first started noticing this during the last presidential administration, where the people in my life most likely to downplay or be unaware of the former president’s most excessive outbursts were not on Twitter—where these flagrant displays were most visible (even unavoidable). I see it now in the furor over CRT, theological debates, Christian nationalism, church politics, pandemic responses, and more. The people who don’t participate on the platform only see the public, crafted messages of those driving controversy, and don’t take into account their motives, connections, and grand strategies which they often brag about to their followers.

In this way, Twitter has been an indispensable aid to my discernment, patience, and wisdom. It’s a little bit of a window into someone’s soul—not exhaustive, and not sufficient on its own to “know” a person, to be sure, but an indicator of what fills and moves them. Whenever someone recommends a book, a podcast, etc. to me, my instinct is to go visit the author or speaker’s Twitter profile. Usually it’s a fairly strong indicator of whether they are trustworthy, whether they are humble, whether they are curious, whether they are kind.

As one of the best (or at least most invigorating) Twitter users I know, David Dark, said: “Twitter is a level playing field. In this sense, Twitter can be gospel. Good news is relative to context. Twitter’s also a helpful form of public documentation. If your perceived power depends upon controlling people through private intimidation, Twitter is an existential crisis.” We become what we amplify.

Twitter as Catch-22 of the Writing Life
When I think about why I’ve sometimes felt like leaving Twitter long before its current troubles, it usually has to do with the rock-and-hard place bind it presents to writers. It’s both a time suck of repartee and a tool for gaining readers. It’s both a place to connect with other authors and a place to send some of your best work off into the ether of unread thoughts. Twitter has been for me a constant tension between “keeping the oven door closed” on the big ideas I’m working out and having a quick outlet for the smaller ones that opens space in my mind for the bigger ones to breathe.

It is also a place of quick, sometimes harsh, feedback on your words. When writing, it’s easy to get lost in the search for le mot juste, working hard to craft phrases tailored to resonate and be re-shared by an audience. But honing quotable messages, intentionally or not, often leaves thorny situations and hurting people out of the picture. Something may make all the sense in the world to you—send Tweet—but you’ll find out fast if it hasn’t been properly field-tested in the hard work of sanctification or showing mercy. I come back often to this reminder from Sharon Hodde Miller on testing the truthfulness of an idea: “1. Is it true for the poor? 2. Is it still true when my ‘enemy’ says it? If the answer is ‘no'”‘ to either one, then the statement is either false, or incomplete.”

This feedback has undeniably shaped my writing style, expanded my horizons of interest, decompartmentalized my thinking, and given me courage to keep adding to the big conversation in the cloud. I know Twitter has provided this experience for many. The number of people who might otherwise never have realized they had something to say and the capacity to say it well that the platform has “launched” (for good or ill) is astonishing. I think Hannah Anderson sums this up well in reflecting on her own experience.

“I would never have become a writer, been exposed to new ideas, or made the connections that sustain my work without [Twitter]…whenever I hear folks talk about wanting to shut it down, I think, ‘You must already have access to a social and communal networks that let you accomplish what you want to accomplish in life….’ I will *never* get over how social media and digital age changed my life and let a [stay-at-home mom], pastor’s wife in a conservative, rural context develop her gifts and mind and find a calling to write. Never. I honestly don’t know how to convey this sufficiently (so much for being a writer!) but considering the shape of modern life, the isolation of the nuclear family, and the challenges of rural ministry, being able to connect w/ others online was a godsend.”

So here, at what may (or may not) be the end of Twitter as we’ve known it, I’m grateful. I also hope it doesn’t fully die as a platform and community, even as I take steps (working on blogging more, opening a Substack account, starting a public Instagram profile, making sure I have people’s contact info, etc.) to hang on to some of its benefits in other ways. Though it has never put a scrap of gold or silver in my pocket, I believe that Twitter has done me good, and will do me good; and I say, God bless it!

Image: My Neighborhood Cemetery at Sunrise, November 2022.

The Power of Positive Thinking

Leaves and branches,
Oscilloscopes tracing
Wind from gathering storms,
Taunt my habit
Of hunting curses
under each blessing
And copping exhaustion
To avoid getting the shakes
From a momentary lapse
Of despair. Sunlight
Always gets me down,
Keeping me inside lest
It warm my eyelids and ask me to rest
In a dangerously peaceful grace.

I’m not sure I know
How to say something earnest
when nothing is weighing me down,
Not sure how to speak
An uplifting word
Without the ashes
Of profanity
Clinging to my tongue.
There is a way of seeking joy
That requires
Gouging out one’s eyes,
And I like looking
Too much to try it,
Even on sale.

It’s easier to look
For beauty in the dark,
Glowing brighter the farther from
What is plainly seen.
If I learned to listen
A little more
To the upbeat bass line
Throbbing beneath
The frantic tenor
Of making ends meet,
Maybe I’d have
A little more
Levity
though I’d speak less.

That’s when I start to laugh,
Catching the joke
That fear is only joy
Hiding behind
Something we will not understand
Until it passes us by.
This is what the trees
Tried to say when
In the early morning
They stood, still and bronzed
In the rosy mist,
But I couldn’t hold
A smile long enough
To muster robust thanks.

Now that they scratch
One another and flail
Before the advance
Of autumn air,
I see plainly what comeliness
The failing light wants to hide
Where the glimmer is weakest.
How carelessly we fall
Back into hope.
So little a splash
Of fuel on a smoldering wick
Sets a lamp flickering, for you
Cannot burn out
What had never been lit.

Image: Clouds and trees in slanted light, my front yard in Tennessee, August 2020.

Why I Wrote a Poem

Last night, I dreamed I finally cried
About everything that’s happened.
Truthfully, I dreamed that we
Were in a morgue, and I saw you
Gasp, recognize a woman’s face,
Glazed and pale, mouth agape and
A crust of pulmonary blood
Staining her bony chin and then
I recognized her, too, and wept.

Up to this point in the crisis
I’ve managed to hold things inside.
Truthfully, I’ve not been at all
Sure what to feel, or how, or when—
I’m still not used to pandemics—
And so all my feelings jumble
And fail to register outside,
Making my face a mirror of
A confused and exhausted soul.

There have been both joys and sorrows
Watching the world change day by day.
Truthfully, I want it to stop
So I can sit still, take a breath,
And let things ooze out on paper
And begin to see what I think
About all this, or anything.
I want to rest, to plead, to rage
And I want to learn how to cry.

But I have been writing what I can,
Breadcrumbs for my future feelings.
Truthfully, I follow a rite—
Approaching life’s holy places
With tender phrases to hold close
Things which defy analysis
Or would be profaned by bare speech—
Pull on the ephod, take the blood
And incense into the presence.

Something Else Matters Most: Music for an Anxious Age

“Just do your best. It’s the only way to keep that last bit of sanity. Maybe I don’t have to be good, but I can try to be at least a little better than I’ve been so far.”
~ The Avett Brothers, “When I Drink”

I dearly love music.

The ability to create (good) music remains a bit beyond my grasp, and so I’ve always admired the creations of others—preferably at a volume suitable to parse nuances of vocals and instrumentation. This fact is to the frequent chagrin of family, co-workers, and fellow vehicle passengers. Thank the Lord for headphones. My tastes, such as they are, range all over, leaping genres and centuries from one hour to the next. I have affinity for particular bands or composers (and even interpretations thereof) more so than broad, industry-determined categories. I own plenty of albums/songs from years of gathering (more than I have time to listen to regularly), but even that collection doesn’t reflect the full spectrum of preference with access to of Pandora, Spotify, and the maddening diaspora of choice.

It is probably not surprising then that I could not name a single “favorite” song or musician. Taste is a horrible thing to quantify. Still, if there has been a soundtrack to life of late, though, it has been the Avett Brothers.

Perhaps there is some deep, rumbling affection toward them from my North Carolina expat heart. Maybe it is their legendary engagement with fans throughout an always-full tour schedule. It could be their relentless creativity, as they reinvent themselves from album to album without losing their core dynamic. At bottom, though, I engage with Scott, Seth, Bob, Joe, et al., as poets as much as musicians.

Avetts

Photo © James Nix, Independent Tribune

The success of their recent albums comes as no surprise to those of us who’ve been listening for a while (and if having Judd Apatow direct a documentary on your band isn’t the heights of popular culture, I’m not sure what is). Plenty of better critics than me have reviewed the Avett’s music and chronicled their rise to fame. I’ll even sidestep the question of taste. What interests me is not whether their music is good (though I’d fight anyone who says otherwise), but why it has risen to the heights of culture right now.

Why, in a culture obsessed with the new, do songs dealing with the pain and sorrow of the past chart right behind poseur pop stars and forgettable tween idols? Why, in a world where familial, social, and political bands have all but dissolved, does simple, honest music cut through the mess to draw people together? Something else matters most, and, try as we might, there is no escaping it. The Avetts are among a very few musicians who dive right into the spiritual/relational hunger of our anxious age.

The Avett Brothers’ style is hard to nail down. Ostensibly beginning as a bluegrass group, they simultaneously evoke Southern Rock, folk, emo, and even electronica. Somehow they manage to be both high-hipster and down-home country. They remind me most broadly, though, of 70s music.

I know that’s not a genre either, but the 1970s were a golden age of music. It was the mainstream glam pop of Elton John and David Bowie, but not just that. It was the arena rock of Boston, Kansas, or Journey, but not just that. It was the R&B, Funk, Disco, or Memphis Soul, but not just that. It wasn’t even just the zenith of soft-rock, with James Taylor, Billy Joel, Carole King, John Denver, Dan Fogelberg. The 1970s was all of this, humming in the background of a decade-long cultural trainwreck.

That trainwreck (Vietnam, Watergate, Roe v. Wade, the Cold War, coups & revolutions, stagflation, and general malaise) could’ve been precisely what made the music go. In a time of political, economic, and social dysfunction, we turn inward, searching for our lost stability in love, family, and faith. Enduring art always needs a little prodding from external discomfort—when the black hole yawns widest, the artist feels most alive.

Culturally, it seems that we are now living through a 70s redux (though 2016-17 has seemed a little more 1968 than any of us are comfortable with). Musically, then, it stands to reason that the explosion of soul-searching indie-folk (Sufjan Stevens, Iron and Wine, Head and the Heart, etc.) would be a natural result. It is the Avetts, though, who emerge as the second coming of all your 70s favorites, because they manage evoke them all.

Though there is something reassuringly familiar about each of their songs, they do not subsist on nostalgia. Each album manages to be fresh and new. Rather than spending all their reserves on their debut project, they work and mature, genuinely getting better with age. They are even getting more overtly religious, boldly incorporating biblical language and flouting the increasing pop-culture taboos against Christianity.

The vapidity of much of what passes for “Christian music” these days may be driving the rise of thoughtful voices in the rest of the industry just as much as it has led to the decline and fall of the Christian Contemporary labels. When the Avetts can earnestly lament depression, alcoholism, pornography and rejoice in the promise of friendship and redemption (all in one song!) with musical excellence, why bother creating a counterculture? Moreover, they’ve recently announced that a new recording project (a joint effort with Scott & Seth’s dad, Jim Avett) will be a gospel album.

So it’s here I’ll take my stand, proclaiming an undying love for this band. Taste? Sure, but some things matter even more. While the mainstream continues rushing away from truth and beauty, we need more and more to be reassured that the simpler themes of life, death, love, loss, joy, and pain still carry the day. People are looking for other things to live by, and the mournful hope proffered by the Avetts is pointing the way for many.

I went on the search for something real.
Traded what I know for how I feel.
But the ceiling and the walls collapsed
Upon the darkness I was trapped
And as the last of breath was drawn from me
The light broke in and brought me to my feet.

There’s no fortune at the end of the road that has no end.
There’s no returning to the spoils
Once you’ve spoiled the thought of them.
There’s no falling back to sleep
Once you’ve wakened from the dream.
Now I’m rested and I’m ready,
I’m rested and I’m ready to begin.

~ The Avett Brothers, “February Seven”

Photo credit: James Nix, Independent Tribune