Categories
Aging Living

The Manufacture of Emergency

The screens at Visa never went dark. Somewhere in a data center, transactions were clearing at a rate that made the number itself feel abstract, and our job was to sit inside that river and notice the one drop moving wrong. A fraud ring testing stolen numbers in ascending increments. A merchant category code that didn’t match the geography. A velocity spike that looked, if you squinted, like nothing at all, until it didn’t. The work had a shape to it: quiet, then a pattern surfaces, then the chase, then the catch or the near-miss, then quiet again. I didn’t think of it as drama at the time. I thought of it as Tuesday.

It took me a long time to notice that the shape of that work was also the shape of something in me, and that I’d built a career, without quite meaning to, out of environments that manufactured the same cycle over and over. Fraud detection was one. A Piper Cherokee is another — not because flying is reckless, it isn’t, competent flying is the opposite of reckless, but because every cross-country trip contains a small structured emergency built into the planning itself: the weather that might close in, the fuel math that has to work, the decision point where you commit or you divert. You solve it. You land. The relief is real and it is, if you’re honest with yourself, part of what you came for.

Retirement removes all of that. Nobody hands you a fraud queue. There is no fuel gauge counting down over Ohio. What retirement hands you instead is something much harder to sit inside: an undifferentiated stretch of days with no built-in shape, no crisis with a clock on it, no adversary to defeat by five o’clock. I did not expect this to be difficult. I had spent decades, if you’d asked me, wanting exactly this — quiet, unstructured time, the absence of alarms. And for the first while it was wonderful. Then I noticed I had opened a second screen.

The options positions started small and reasonable, the way these things do. A covered call here, a defined-risk spread there, sized so that nothing could actually hurt. But I noticed the pull on days when nothing needed attention. I’d be three-quarters through a walk around the pond, the morning doing exactly what a morning is supposed to do, and I’d feel for my phone anyway, not because a position needed managing but because the quiet had started to feel like something unresolved. I would open the app looking, if I am being precise about it, less for information than for a small manufactured stake — something with a clock on it, something I could watch move against me and then, with luck, defeat.

This is not a confession about trading, which when done with defined risk and a plan is just a hobby with numbers attached. It’s an admission about what I was actually shopping for on those walks, which was the old shape. Tension, then resolution. Fear, then relief. The problem with the shape is that it doesn’t ask whether the underlying situation warrants it. It just asks to be fed. A market that is genuinely quiet gets treated the same as a fraud queue with a live threat in it, because the appetite doesn’t distinguish between real stakes and stakes you went looking for. You can tell yourself you’re staying sharp. Sometimes you’re just bored, and bored, for a person built the way I apparently am, does not feel like rest. It feels like a low hum of unfinished business, and unfinished business is a thing I have spent a working lifetime being paid to resolve.

I don’t think this gets solved so much as it gets noticed, and noticing changes the ratio a little. The phone is always in my pocket; that isn’t the part I can negotiate with. What I’ve started doing instead is naming the moment my hand goes for it on a walk that doesn’t need interrupting — catching the reach itself, mid-motion, and asking what exactly I’m expecting to find. Most mornings I still open the app. But I open it now as someone watching himself do it, which is a smaller thing than stopping, and also, it turns out, not nothing.

Categories
Writing

The Unfinished Note

I’ve been sitting with a Susan Orlean line for a few days now, the way you sit with a splinter you can’t quite locate.

“Stories don’t need a ‘conclusion,’ a flourish of finality. It’s better to leave readers falling forward, tumbling through the piece and beyond it, finishing the tune in their heads.”

What strikes me isn’t the advice — plenty of writing teachers have said something like it — but the verb she chose. Tumbling. Not drifting. Not lingering. Tumbling. There’s a loss of control in that word, a small helpless momentum, the way you take one more step than you expected on a dark staircase and your body has to catch up to itself.

I’ve always been suspicious of endings that arrive wearing their own bow. You can feel them coming, those last paragraphs — the rhythm slows, the sentences get more declarative, the writer seems to straighten up and clear their throat. And then comes the lesson, the restatement, the turn toward uplift or hard-won wisdom. The piece explains what it was about. You close the browser tab and that’s the end of it.

But some pieces don’t end so much as they stop, at the right moment and the right angle, and something in you keeps moving. You find yourself thinking about them in the shower two days later. You’re not remembering the conclusion because there wasn’t one. You’re still inside the piece, finishing the tune, as Orlean says. The writer handed you the melody and walked off mid-phrase.

I think about this with music. Jazz, especially. The best solos don’t resolve — they suggest a resolution and then leave the air charged with it. Miles Davis understood that the note you don’t play is still a note. The silence after the phrase is part of the phrase.

I’m not sure I’ve ever actually written an ending this way. Most of my pieces come in for a landing; I can feel myself starting to circle and descend. Maybe that’s the real lesson in Orlean’s line — not a craft note about structure, but a challenge to trust the reader enough to leave the door ajar. To believe the piece was good enough that they’ll want to keep walking around inside it.

I’m still not sure I do.

Categories
Living Music Writing

The Tonic Chord of a Life

We spend a good portion of our lives surrounded by noise. Not just the literal kind—the hum of traffic or the ping of notifications—but the internal noise of unresolved tensions.

I was reminded of this while listening to a recent conversation between David Perell and the legendary journalist Tom Junod (https://youtu.be/JnHTUyZjwiY). Towards the end of their sprawling, beautiful discussion, Junod introduced a metaphor about writing that made me pause the audio and just sit with it for a moment. He talked about the “tonic chord.”

“Musicians, you know, back in the day, they were always looking for the tonic chord. And writing, I’m always looking for the tonic chord… where all the discordant harmonies are resolved in a single ba-boom, you know, at the end of Beethoven or whatever… looking for some sort of resolution to the stuff that gnaws at me.” [00:39:42]

It’s a striking image. In music theory, the tonic is the home base, the center of gravity. It is the chord that finally brings rest after a long sequence of tension and suspense. Without the preceding dissonance, the tonic chord has no power. The chaos isn’t an obstacle to the resolution; it is the very environment that makes the resolution meaningful.

This applies far beyond the blank page. We are all, in our own ways, searching for our tonic chords.

We carry around the stuff that gnaws at us—the contradictions in our relationships, the career choices that look good on paper but feel hollow in the chest, the quiet hypocrisies we tolerate in ourselves. These are the discordant notes. We spend so much of our lives trying to ignore them, turning up the volume on our daily routines to drown out the clash. Or we try to fix them with brute force, stubbornly demanding harmony before we’ve even listened to the melody.

But maybe the point isn’t to erase the tension. Junod’s genius—both in his essays and in this metaphor—is his willingness to sit with the discomfort. He looks directly at the friction. He places two opposing truths right next to each other, letting them rub like tectonic plates, waiting patiently for that final chord to finally release the pressure.

I think about the architecture of a well-lived life in much the same way. The most resonant moments I’ve experienced haven’t come from a smooth, unbroken string of successes. They usually arrive right after a period of intense confusion or struggle—a sudden moment of clarity on a foggy morning walk, a tough but honest conversation with a friend, or finally letting go of an idea that had lost its spark.

That sudden ba-boom of clarity. The release.

We are taught from childhood that a good life should be harmonious. But true harmony is earned. It requires us to listen closely to the discordant parts of our lives, to bear witness to our own messes and mysteries, and to patiently search for the truth that finally brings them all together.

Often, it is the ultimate act of self-awareness.

Seek serendipity.

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