Why does reactionary, conservative art in modernity fail? A look at God's Not Dead, the Daily Wire's $100 million entertainment collapse, and how resentment produces derivative, hollow work that cannot generate any cultural magnetism.

My testimony, from Dawkins on an iPod Shuffle down a back alley, through Buddhist libraries and a children's hospice, to Matthew's Gospel in a break room chair. My case for tragic theism: a God who creates, risks, makes mistakes, grieves them, and does not stop.

My daily writing is a practice of releasing messages in bottles and folding paper cranes—from Montaigne in his tower and Johnson writing in poverty, to Sadako Sasaki folding 1,450 cranes in a hospital ward. What the essayists, drift bottles, and Senbazuru share, and why the attempt itself is the whole math.

A follow-up looking at the real, systemic intervention for the Long COVID mass-disabiling event: Clean air. MERV 13 filters, the Corsi-Rosenthal Box, and the Zadroga Act we still have to write to climb the bureaucratic wall of disability denial, and what those of us with capacity owe to those who are too sick to fight for themselves.

A history of the word 'meme'—from Richard Dawkins coining it in *The Selfish Gene* in 1976 to Advice Dog and the death of shared internet monoculture—and what happens when you take memetics seriously as a theory of culture. Metal Gear Rising's Monsoon delivers the most honest account of how memes shape who we become. The lyric essay resists this process by design.

A defence of digital stewardship, IndieWeb principles, Blackfoot models of collective flourishing, and what it means to plant seeds in a garden you'll never see. From Garrett Hardin's infamous 1968 essay to Elinor Ostrom's Nobel Prize-winning refutation, the tragedy of the commons was never inevitable. It was always a choice.

A fifteen-hour road trip across Saskatchewan with my brother, watching the prairie unfold through grain elevators and abandoned towns. The quiet weight of prairie masculinity, the failure of academic knowledge to translate into brotherly wisdom, and the architecture of goodwill found in midnight motels.

I snuck off school grounds to write in a back alley, shoplifting Ginsberg and Neruda from Chapters, and I'm alive and writing today because of that. Recent neuroscience confirms poetry activates the brain's dopaminergic reward system, treats anhedonia, and is—more than metaphor—medicine.

My annual birthday essay on turning thirty: examining the cross-cultural agreement—from Confucius to the Hebrew Bible to Zoroaster—that thirty is when formation ends and function begins. My dark year of depression which turned out to be preparation rather than delay, and on writing 200,000 words since, which turned out to be the same thing.

A eulogy for two kinds of loss: those who die and those who become simply elsewhere. Filtered through Didion, Barthes, C.S. Lewis, and Pema Chödrön. On ambiguous grief, the names written down so they don't disappear, and the sixteen-year-old who already knew that love stems out from verbs.

On the poets who found different terrors inside the phrase 'earn my keep'—Jeong Ho-Seung, Brecht, Heather McHugh, Kim Hyesoon—and the theological dispute over whether grace can be deserved, turning thirty in borrowed time, and the nuthatches outside who do not know the feeder was set out for them.

A review of Jake Beka's sophomore poetry chapbook SINKHOLE—eleven poems across four continents and three generations, tracing patrilineal damage as a force that reshapes geography, contaminates water tables, and follows you across borders. A chapbook with genuine cosmological ambition that succeeds everywhere it refuses comfort.

On the subscription economy, Walter Benjamin's aura, Pokémon scalpers, the rot of physical media, and the person at the photocopier making what the streaming model cannot touch.

We have the first human photograph of Earth from space in 54 years, and I can't help but meditate on what it means to be human on a fragile planet in 2026.