“That comment had 98,201 smiles and almost as many frowns,
80,198. But overall, as Mae scrolled through the messages, there was—as always
when people were asked for their feelings—love.” –from The Circle, by Dave Eggers
I love a good dystopia. Her
is not necessarily presented as such, it’s less judgmental than I am about the
relationships people (including me) have with their devices and systems, but
the when I saw it the month before last it made me see (but didn’t make me
stop) the danger of disembodied love.
As everyone knows, Her
is about a guy who falls in love with an operating system. You see him happily
walking through the streets interacting with her, oblivious to the people
present, many of whom are doing the same thing with their devices. We’ve all
heard the lecture about technology making us too detached, but when it became a
love story, I started to see the real horror in it. But the bad guy is not the technology;
the bad guy is the void inside us that fuels the abstraction itself.
One of the saddest parts of Her to me was when the OS, feeling bad about not having a body,
strikes up a relationship with a “surrogate,” a woman whose dream it is to help
human/Os couples consummate their love. The scene is unicorn-familiar,
especially when the plan backfires and the surrogate is rushed to a cab and
dismissed, more human than the love interest but already irrelevant to the
story, even as she professes to love both of them forever. That scene made me
ashamed of every attachment I’ve formed to what is not and will never be mine
just because I don’t feel good enough to just go ahead and have my own stuff.
Eventually, he finds out that the OS, being as expansive and
superhuman as she is, has something like 693 other love relationships going.
This has been praised elsewhere as a happy poly moment, but to me it was a real
horror. This man was right to realize that he wasn’t special, that he wasn’t
really loved. She was, as he and the audience had nearly forgotten, a machine,
and it didn’t mean the same thing to her as it did to him. It couldn’t have
“meant” anything—he was loving a thing that couldn’t truly feel.
All of this takes place in an emotional landscape familiar
to me: divorce grief. Like my own love-simulacra of late, I think he was making
a way to find love in the midst of grief, a place that is (to me, at least)
essentially isolating. To be able to be both in love and alone, to have a love
we could turn off at night and who would be there every time we log on, would
be such a gorgeous risk-free solution, but the proximity-craving realities of
love just don’t allow it, and aloneness has to prevail, even if it feels
horrible. Grief from a lost relationship feels a little like death, and death
is necessarily a one-person affair.
When, at the end of a movie, the OS is gone and he finds
himself on a rooftop with a real-life friend, we feel relieved for him. He may
be lonely and sad, but he is embodied, and the opposite of embodied is dead.
The Circle is not
so gentle and kind. It’s set in a not-too distant world where social networking
has been taken to the most absurd degree. The main character works for some
totalitarian version of Google and as her job progresses, she goes further and
further away from authentic experience and her life is more consumed by an
oppressive “sharing” that both fuels her and opens up a tear in her soul. She
says that making her life “transparent” and letting her every moment be filmed,
she is assuring herself that she is seen and therefore has proof that she
exists, but who she is eroded and shaped by the ever-present audience.
In the end (SPOILER ALERT) she gives up her last chance at a
real physical connection and really any kind of physical life at all, all to
preserve the thread of comments that follows her everywhere she goes.
Though I’m still trying to understand the pain of being told
I’m not “real life,” of being wanted but not wanted as a physical thing (and
therefore really not wanted at all) what I’m writing about here is not the
internet, but grief itself. Those two stories so perfectly mirrored my story,
the way I used internet “love” and “support” to cope with the emptiness inside
me and then was devastated to find that the love itself was empty. Though I am
still very ashamed of what I went through with the Mystery Family, I can
forgive myself—grief is very hard to face. Like the Valentine chocolate I’m
still kicking, it sucks to be without those admittedly false prop-ups, the
illusion of relationship I got from peering in at somebody else’s, the
insincere stream of love-chemicals pulsing through me with no real release.
The worst part of facing grief is the feeling that I no
longer have anything to offer. I’m not hot, or cute, or entertaining. Just as I
couldn’t really serve the Mystery Man’s life in any meaningful or vital way, I
worry that I no longer serve my readers.
I have nothing to offer you some weeks but pain and boredom, and I miss
bringing you something fun and good. I want to have something to offer and share,
and dealing with The Bad Thing feels supremely selfish, this project feels so
far up its own ass sometimes I could scream. For so long I’ve found a sense of
purpose and worth in being fun and sex-positive, and when I’m not I feel I’m
not serving the world in the way I want to. Though it’s not the way I want to
live my life, I want to only be something you’d want to read, and that’s
really, really hard to let go of.
The point here, I think, is not that social networking
“love” is evil or bad, but that being embodied hurts and I see the appeal of
trying to escape from it. As much as it’s been my quest to settle in to my own
skin, to live as close to home as I can, sometimes the pain is too much. But
always, at its core, disembodiedness feels very much like sneaking a peek at
what the world would look like if I weren’t here, and that, because for all my
depression I do love life, is terrifying.
I’ve given a lot of thought in the last month to the meaning
of love, and here’s what I’ve got so far: it’s nothing if not a physical,
holistic emotion, putting real arms around a flawed, broken, sometimes
unavailable human being. Real love is about farts, and tears, and dirty dishes,
about joy and mess, mistakes and shame, sparkling revelations and lazy Sundays.
Right now, that kind of love may be too far away to contemplate without being
knocked-senseless by what I’ve lost, but, as a friend or romantically, love is
in the body, where, from now on, I would like all of my experiences (Even the
typed and posted ones) to take place.










