AI

The inhuman assult on Christmas Carols

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On Christmas Carols 1/2

By Timothy Snyder

The other day I experienced the inhuman assault on Christmas.

I was in a cafe, trying to work, counting on the familiar harmony of conversation and music.

But something was wrong. No one was talking, perhaps because the music was eerie. Since I was trying to focus, I didn’t immediately notice the problem. I just kept experiencing an irritation that kept me from concentrating on the paper in front of me.

Timothy Snyder
Timothy Snyder

And so I lifted my head from my notebook and listened. And was disturbed.

What seemed at first to be winter songs and Christmas carols were something else. The melodies were more or less correct — recognizable as “Silent Night,” “The First Noël,” “Winter Wonderland.” But the voice was generically earnest, a bland baritone bellowing, straining, I felt, from nowhere to nowhere.

And the lyrics were wrong. Not just mistaken here or there, but wrong in a sort of patterned way. All of the specific references to the nativity were expunged, replaced with metaphysical blather (”oh and that sacred star… that sacred star!”).

And the human parts had gone missing as well. In “Winter Wonderland,” which is a love song, we should hear this nice couplet about a pair taking a walk:

In the meadow, we can build a snowman

And pretend that he is Parson Brown

In the song as I heard it in the café, that lyric became:

In the meadow we can find a snowman

And pretend that he is a nice old guy

That was then followed by some meaningless verbiage about dancing the night away, where “guy” is lamely rhymed with the sun being high. Again, the actual song:

In the meadow, we can build a snowman

And pretend that he is Parson Brown

He’ll say, “Are you married?” We’ll say, “No man,

But you can do the job when you’re in town.”

In these four lines we hear so much. The young couple are doing something together, and telling a story to each other about what they are doing. Parson Brown, inside the fantasy world we share, is a specific person with attributes, which we imagine by reference to the snowman. Their attitude to him is playful yet respectful. The lovers are not yet married but they want to be. They are outside the rules for the moment, acting out their love in public, but they understand the conventions and want to join them. The layers in these lines descend gently upon the listener, like snowfall in sunlight.

My mind was awaiting all that; the vacuum of “nice old guy” strained the neurons, or the soul.

I first heard “Winter Wonderland” about forty years after Richard Bernhard Smith died in 1935; fifty more years have passed since then. Behind that lyric is an actual man, inspired by snowfall in a park, who no doubt knew something about romance; a young man ill with tuberculosis, who would die months after writing the lyric; and then the song lives after him, preserving his own playful sense of how we might be together, passed on from those who sing to those who listen.

The art lives until it is killed. What, in this case, is killing the song? Killing Christmas? Killing civilization? It is a set of algorithms that we flatteringly call AI, or artificial intelligence. My guess would be that someone, somewhere, entered an instruction to generate winter and Christmas songs that avoided “controversial” subjects such as divine and human love. And so we get mush. In a reverse sublimation, the sacred becomes slop.

In our politics, we have the idea that Christmas has somehow been sullied by all the foreigners. But who are the true aliens in this Christmas story? The non-human entities. The example of the tortured winter song is just one of many. Basic cultural forms are weakened under the assault of algorithms designed to monopolize attention: classroom teaching; sharing of food, simple conversation; holiday ritual. Music.

People, of course, make money on this. A few people make a lot of money. And, in some notable cases. they are the very people who tell us that foreigners are destroying our civilization, are taking Christmas away from us, and all the rest. The people who profit from the culture-wrecking machines blame other people, who have nothing to do with it. And meanwhile those who actually sing the songs have trouble finding listeners.

“Winter Wonderland” is a light bit of music, with a subtle message about romance, one that requires some patience and some experience and a sense of humor. Any references there might be to the holiday itself are indirect and playful: the imaginary parson with the melting reproof, the wandering unmarried couple.

“And she brought forth her firstborn son, and wrapped him in swaddling clothes, and laid him in a manger; because there was no room for them in the inn.” The carols bear a message about love, one that that no machine will understand, and that those who profit from the machine perhaps do not want us to understand. Love begins humbly, takes risks, recognizes the other, ends in pain, returns as song. And begins humbly again.

Source: Substack

The Empty Stage

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Johnny Cash, loss, and redemption

Sarah Kendzior

By Sarah Kendzior | Nov 18, 2025

I am on stage at the Ryman Auditorium, the most famous concert hall in Nashville. A photographer tells me to smile. I hate getting my picture taken, but that day smiling came easy.

After years apart due to the pandemic, my family was reunited: my mother and father, my husband and children, and my sister and her husband and kids. We were in Nashville to celebrate my parents’ 50th wedding anniversary. My parents drove from Connecticut, my sister flew from Dallas, and we drove from St. Louis. It was the first time the ten of us had taken a vacation together.

We didn’t know it would be the last.

Sunlight poured through the stained-glass windows of country music’s holy ground. Legends surrounded me: Willie, Dolly, Hank, and my favorite, Johnny Cash. Johnny Cash, who sang with the weariness of reconciling mortality with morality; Johnny Cash, apocalyptic and American to the end.

There is no better music to ride out a pandemic than Johnny Cash. That’s a truth I never wanted to learn. Twenty-first-century truths are like that.

Sarah Kendzior’s Newsletter is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.I had taken the kids to the Johnny Cash Museum the day before. I showed them his guitar, his crucifix ring, his handwritten lyrics to “Folsom Prison Blues.”

They shrugged. They knew Johnny Cash — his baritone blared through their childhoods — but preferred the Glen Campbell Museum, where we belted out “Rhinestone Cowboy” karaoke to the horrified amusement of other patrons. Nashville was in full “Nash Vegas” mode and the kids lapped up the flash. Being in the Johnny Cash Museum was too much like being at home.

“What’s wrong, Mama?” my son said when he found me on a bench, tears streaming down my face.

“Nothing,” I said, embarrassed. “I’m watching the last music video Johnny Cash made before he died. He was dying in this video. He was 71, the same age my parents are now. I was so scared they would die when covid came. I still am. I keep thinking about it and how lucky we are to see each other again.”

“And celebrate the anniversary,” he said. He was ten.

“That’s right. Watch with me. You can see a whole life in this video. You can see life go by so fast. Decades and decades, memory and regret, time too fast to bear.”

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My Friend Leatherface

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Remembering a creative conservationist as plutocrats take a chainsaw to Texas.

By Sarah Kendzior | Aug 19, 2025
 

We pulled into Bastrop around noon. This is a bad move: everyone knows you don’t go to a rundown gas station in small-town Texas unless you’re looking for trouble. We were, so we walked right in.

The Gas Station is the only major surviving site from The Texas Chainsaw Massacre, the 1974 low-budget classic by Austin director Tobe Hooper, who cast local unknowns in leading roles and filmed in rural areas near the city. An exploration of human savagery more artistic than its title implies, the film tells the tale of road-trippers who stumble upon a family of sadistic cannibals. It is visceral, violent, and at times, beautiful.

The final shot — masked killer Leatherface twirling his chainsaw in the haze of the rising sun, unpunished and unexplained — is cinematic poetry. A light so lovely, it makes the darkness feel worse. It is a very American story.

I was in Austin on book tour and I wanted to see The Gas Station. Now I could, thanks to an unexpected break. An NPR host had blown me off for the second time after making me wait for his call like a 1950s schoolgirl. I was annoyed but had hours to kill and knew just the place for killing.

My husband and I set off for Bastrop, letting the capital fade from view. Austin was unrecognizable from my last visit in 2018. Tech oligarchs had built a skyline of skyscrapers that loomed like landing pads for bad ideas. Driverless cars zipped through bitcoin-bathed streets. The conspiracy theorists work for right-wing think tanks and nobody there is slacking. On the outskirts lurks Tesla, where a chainsaw-wielding Elon Musk rips through Austin’s famed weirdness and affordability.

I didn’t want to feel scared, so I headed to the site of The Texas Chainsaw Massacre.

* * *

Today The Gas Station is a barbecue joint that sells horror memorabilia. I had read it had items from the original Chainsaw, but that is no longer the case. They had them once, the owner said, but then the Californians ruined everything.

The Californians ruined everything is a phrase I was hearing a lot in Texas.

The owner explained that an entertainment corporation had forced them to transform their TCM pilgrimage site into a generic chop shop due to an alleged copyright infringement, despite the store’s connection to the original film. He spoke with the aloofness of someone used to greeting the disappointed.

“You can get barbecue,” he said with a shrug, gesturing at the cannibal-themed menu. “Or whatever.”

“I’m sorry this happened,” I said. “This is a national landmark. You should get to revive it. I’ve wanted to come here a long time. I used to write for Fangoria.”

He did a double take. We started talking. You hear about the coldness of Americans, but everyone warms up when you love what they seek to preserve.

I’d spent my book tour road trip getting pleasant surprises: swag from the Oklahoma Music Hall of Fame after I asked about neglected outlaw singer Sammi Smith; a print from the daughter of a Cherokee artist after I showed her a photo I’d taken of an obscure painting by her father in a museum years ago, and told her of my search for a copy, which she made for me in her studio. When your interests are strange, no one is a stranger.

The Gas Station owner regaled me and my husband with tales of the venue’s glory. He brought us out back to reveal a prop severed head in which he showed great pride. He mentioned Gunnar Hansen, the University of Texas graduate student who took what he thought would be a quick and amusing gig playing Leatherface, only to have it dominate his life. Hansen passed away at 68 in 2015.

“Leatherface was my phone friend!” I exclaimed.

“Who?”

“Leatherface! I mean, Gunnar,” I said. “When I was in college, I was supposed to interview him about Chainsaw. But we ended up talking about everything. Carl Jung and horror literature and the collective unconscious. Ocean life and ecology. He could recite Moby Dick. He made me want to go to Maine.”

“I proposed to you in Maine,” my husband interjected. “Maybe that should be your top memory of Maine.”

“It is,” I said. “But I was 20 and didn’t know anything. Leatherface gave me life advice.”

I had gotten Gunnar Hansen’s phone number through a friend of a friend from Lubbock. He agreed to speak to me, even though I had nowhere to publish my piece, and ended up using it for a college class in non-fiction writing. A former graduate student in English, Hansen didn’t mind. For one week in 1999, I called him multiple times for “follow-up questions”. That was a front: I wanted to keep talking. He understood things I was only beginning to grasp.

I wondered what I would be like in middle age, and I decided that if I was like Gunnar Hansen, I’d be doing just fine.

* * *

He could have cashed in early, but he didn’t care. When Chainsaw brought him fame, Hansen — the only Melville scholar to have his own action figure with a detachable severed head — quit acting. Inspired by the John McPhee essay “The Survival of the Bark Canoe,” he moved to the Maine woods to live in seclusion. He left university life behind as well. Hansen was wary of academia and Hollywood, describing them as industries where you’re expected to give pat answers to please bad people. He sought creative freedom above all.

“I wanted to write,” he told me. “That’s all I ever really wanted to do. If I was going to struggle and suffer and starve to try and develop my skill, I’d rather do it as a writer than as an actor.”

Over the next two decades, Hansen wrote five books, including poetry and travelogues about ecologically vulnerable regions of the United States. When I spoke to him in 1999, his most recent book, Islands at the Edge of Time, about East Coast barrier islands, had received a glowing review on a new book vendor called Amazon. The title of the review was “Leatherface Goes Island-Hopping.”

Hansen got used to being typecast. It never deterred him from his intellectual pursuits, and he did not view those pursuits as separate from his background in horror. When we spoke after the Columbine shootings, I asked him about media accusations that horror films fuel real-life murder. Hansen sighed. He said he’d been getting this question for decades from people who didn’t like the answer.

“People go after horror films not because they’re violent, but because a lot of times horror films have values that contradict normal values,” he said. “That’s why people are so outraged. When Raiders of the Lost Ark came out, it was much more explicit than Chainsaw Massacre. No one raised a complaint about the explicit violence in a film that, to some degree, was aimed at kids. But when Chainsaw came out, Johnny Carson gets on TV and says that he’s offended that it didn’t get an X rating for its violence.

“What’s happening is that we’re going after these films not because of their violence. We see the violence as something we can hang on to. We’re offended by horror movies because we’re middle Americans who don’t want to see things in which the values are not the same. The vision in horror films is often very dark. We want to have a movie that tells us that everything’s okay.

“A horror film does not pretend that death is not horrifying. It does not pretend that violence is not bloody, grotesque, and painful. What’s irresponsible are the films that show violence with no ramifications.”

Hansen saw Texas Chainsaw Massacre as a rule-breaker: a movie of “impolite horror” that refused to offer clarity or resolution. He saw a similar ambiguity in his favorite book, Moby Dick, which he encouraged me to read once a year.

“There’s the deep unconscious that the sea represents, if you want to be Freudian about it,” the Texas Chainsaw Massacre star explained. “Or, as Jung said, the lake in the valley of the unconscious. At the same time, it’s a tragedy about Ahab. There are so many different things going on but what worked particularly for me was that it was dipping into the idea that there was this mass of unknowability. It’s this huge book that has all these seams in it.

“Sometimes you read something and you feel that everything is polished as smooth as a stone. I never had that feeling with Moby Dick. The book was bigger than the author. It was like he had lost control over it, and that’s what I loved about it.”

When I used a quote from Moby Dick as an epigraph in my book They Knew — a book I structured as a non-fiction horror story to convey the pain of the political moment in a palatable way — I thought of Gunnar Hansen.

* * *

He told me to see the wilderness before it was too late. In 1999, I had barely traveled, and he encouraged me to explore the country, to visit his beloved Maine, to cherish fragile lands. He worried about the future my generation would inherit. When I look back on our chats, we were two people obsessed with death because we loved life.

Gunnar Hansen made me feel normal. It was normal to love Moby Dick and The Texas Chainsaw Massacre. It was normal to abhor violence and watch horror for entertainment, in the hope that somehow the entertainment would convey the grief in the American air, even in that glorious illusion of 1999, the sole year I could be called an optimist.

I never spoke to him after that week. Sometimes you have a brief encounter and it shapes your life without you realizing it. A gentle man famed for playing a serial killer taught me I never had to choose one way to live or to be. I could be of the world, and that was enough.

You’re not a contradiction in terms when you’re the one writing the terms. It’s a lesson I wish younger people — sorted into boxes not only by social pressure, but by panopticon data miners — understood through experiences beyond life as prey.

If the seas shall rise, let the mass of unknowability rise too.

* * *

In 2013, Hansen, who started making horror cameos in the late 1980s but kept his movie persona separate from his writing, published an amusing tell-all called Chain Saw Confidential. Chapter One begins: “Call me Leatherface.”

But his description of Texas Chainsaw Massacre’s ending sounds like a 2025 news report, if 2025 still had news:

“The monster goes unpunished. He is still there, still capable of returning. The normality, the predictability of the world is gone. There is no punishment. There is no relief of suffering. There is no justice. There is no order. Without justice and order, how can we have meaning? It is all nothing. This is the real horror.”

Hansen died of pancreatic cancer before Trump took office, autocracy spread worldwide, and climate catastrophes devastated the lands he loved. He died before a technofascist belief in human disposability became mainstreamed into global politics: an extinction racket that shuns even the pretense of valuing life.

He died before Trump started talking up Hannibal Lecter. Trump ignored fellow cannibal Leatherface: Leatherface is too impolite, too raw in his menace. Gunnar Hansen feared the polished villains. I don’t need to wonder what he would think of the plutocrats who destroy the natural world to build an AI facsimile.

On our last night in Texas, my husband and I drove the same Austin streets that Hansen did a half century ago in an America that had hit its peak without knowing it. Texas Chainsaw Massacre mocked the idea that Americans were free, but the film felt free — ruthlessly, frantically free, like it was gathering a dark truth before the means to share it were foreclosed.

The sequels and remakes that followed heralded the narrowing of vision that led to our current dystopia: movies made by robots to pander to the unimaginative.

Near the Congress Avenue Bridge, a crowd was growing. We joined them as dusk fell. I liked the night because I couldn’t read the QR codes. I liked the night because I could pretend Austin was old Austin, and it was 1999, and the future lay before me instead of behind me.

Then it happened: hundreds of thousands of bats emerged from under the bridge. The bats were resolute in flight, impervious to tech lord transformations. The crowd cheered. Here was nature, unrepentant. Here was a timeless symbol of horror stories engendering our shared humanity. Austin felt good again, alive again.

There’s a crack in the dystopia. That’s how the night gets in.

* * *

Thank you for reading! I would never paywall in times of peril. But if you’d like to keep this newsletter going, please consider becoming a paid subscriber. That ensures every article in the archives remains open to everyone. This newsletter is the main source of income for my family of four, so I appreciate your support!

Thank you for reading! I would never paywall in times of peril. But if you’d like to keep this newsletter going, please consider becoming a paid subscriber. That ensures every article remains open to everyone. This newsletter is the main source of income for my family of four, so I appreciate your support!

Sarah Kendzior’s Newsletter is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

Soul Stripping

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Against AI, again

By Sarah Kendzior | Aug 7, 2025
 

An AI created a podcast of your paper,” the email said. I blinked and read it again.

The paper was a work I had written in graduate school and uploaded to the website Academia. The subject was digital freedom and social control in authoritarian states.

I uploaded it in 2010 to thwart the paywalls that blocked academic research from the public. I wanted people to grasp the digital dangers of surveillance, censorship, and impersonation. I wanted them to understand that no one was safe from the future.

It did not occur to me that in 2025 a robot would steal my words and make a podcast out of them and try to charge people, including me, $170 to listen.

I don’t know what the podcast says. I ain’t paying no doppelganger ransom.

In 2010, I sought to debunk the widespread belief that the internet was an inherently democratizing force. In that halcyon era, when Google’s “Don’t Be Evil” motto did not yet prompt bitter laughter, this was a controversial take. It came from researching the internet in authoritarian states, where dictators used it to monitor dissidents and torpedo their rebellions.

* * *

I miss those days, because the people were real: the dissidents, the government, the infiltrators. The latter two were liars — but real liars. They had not yet been replaced with AI. When someone ruined your life, they had to make an effort. There was more “human” and less “inanity” in the “inhumanity”. (Am I doing it right, AI? We’re supposed to shove woods into a virtual woodchipper and mimic coherence, right?)

No one should feel nostalgic for this time. It’s a sign of ours that I do. Now the journals are defunded, the programs where I got my degrees have been cut, and I live in a semi-authoritarian state where podcast-producing robots steal my speech.

My research was on dictatorships of the former Soviet Union: countries where no one trusted anyone. Their political culture is now indistinguishable from that of the US. How can we trust anybody when anybody might be nobody? We no longer tilt at windmills but shoot at the wind. Shoot the breeze, shoot in the futile hope that the robots don’t take the shells and piece them into a funhouse facsimile of conversation.

“In America, bad news breaks you!” Yakov Smirnoff’s voice whispers as I close my laptop. This is a joke I invented for a fake Yakov Smirnoff, a Yakov Smirnoff that only lives in my mind. I give my fake versions of real people privacy. I wish others would extend me the same courtesy.

Like many technologies, AI is designed to kill humans, but in the most soulless way possible, stripping away even our ability to own and express our pain.

In 1938, the poet Bertolt Brecht, living in exile from Nazi Germany, wrote “In the dark times/ Will there also be singing? / Yes, there will be singing/ About the dark times.”

AI steals even that option. When I was discussing the Brecht poem, a commenter wryly noted that AI could write a song about its own thievery. But it can’t. A song written by AI isn’t a song any more than dust is skin.

AI wins not when it becomes more human, but when humans become more like AI: disengaged and devoid of original thought.

What began as a threat to creativity and critical inquiry has moved into tragic terrain. Sacred rites are being outsourced to machines. AI is used to write obituaries and for pundits to profit off murder by pretending to commune with dead children. Chatbots give cold comfort to real grief, exploiting an empathy deficit that has soared since covid appeared.

Meanwhile, AI spits lies, steals jobs, and destroys the natural environment. Tech companies sell it hard so it can be integrated into daily life before buyers realize they have purchased their own replacements. Extinction is being marketed as ease of life.

I used to be frustrated by people’s lack of imagination. Now I’m frustrated by their rejection of it and replacements for it.

Imagination is nothing to take for granted. It is one of the main qualities that fascist regimes attempt to outlaw. But they do not need to outlaw what is surrendered.

AI is soul stripping.

* * *

In 1990, the Kyrgyz writer Chinghiz Aitmatov popularized the term “mankurt” in his novel This Day Lasts More Than a Hundred Years. A mankurt is a Central Asian zombie who, due to imperial domination and war, has lost touch with his history, his family, and himself. He is a former person with an enslaved mind.

“They can take your land, your wealth, even your life,” wails the agonized mother of a mankurt in the novel, “but who ever thought, who ever dared to attack a man’s memory? Oh God, if you do exist, how did you give such power to people? Isn’t there evil enough on earth without this?”

In interviews, Aitmatov explained that a mankurt did not recognize himself as a human being. The term spread across the USSR as it crumbled and citizens from colonized nations like Kyrgyzstan tried to rediscover their culture, religion, and roots.

The mankurt is the sort of topic I wrote about in my graduate school papers now being vomited up by AI. That is the terror of the post-existence age: I have taken pains to avoid this fate, but it got me anyway.

I have never used ChatGPT. I have never streamed music, used a QR code, or taken an Uber. I leave home without a phone and boycott cashless establishments. I avoid apps, including the Substack app. I am behind the times and determined to stay there.

Historically, this mindset hasn’t worked out well for Polish-Americans with last names beginning with K who live in states beginning with M and write books about conspiracy theories. But don’t worry, I don’t use bombs either.

It is easy for me to live an analog life in Missouri, which tends to be about twenty years behind the rest of the country. But we’re at about 2005 now, the last year the internet was good, and big tech has come to make me its mankurt.

AI articles with fake Sarah Kendziors are all over the internet. In the past month alone, I was fake-quoted about Jeffrey Epstein in an AI publication purporting to be a Haitian newspaper; about Trump being crazy in Dean Blundell’s AI slopstack; and most distressingly, about how Americans should leave the country in an AI-generated rag called Canada Resists. I found out that Trump was in Scotland from an AI article in which Fake Me was asked for comment.

I never said these quotes, nor would I tell people to leave the US. One reason I keep this newsletter unpaywalled is because my views on topics like that are clearly stated and can be used to debunk my AI doppelgangers. My own words are my best weapons — so long as people recognize they are mine.

An irony of my AI ubiquity is that I am sometimes banned from what’s left of mainstream media, thanks to my books about the mafia, the government, and Jeffrey Epstein. But AI doesn’t know. AI cannot tell fact from fiction or the popular from the pariah — or what to do with someone who is both.

I am used to people making up quotes from me and repeating them. It happens out of malice or to distract from what I actually said. For example, when I brought up Nancy Pelosi’s corrupt finances and disturbing proclamations of loyalty to Israel over the US, a brigade of bots appeared to falsely claim that I called her a “Russian agent”, when I stated point blank that she is not. The goal was to make me seem unreliable and discredit my accurate claims.

This fake “Russian agent” quote was repeated on social media thousands of times over six years — even though it could be debunked in seconds. I could not understand why it persisted until people told me chatbots were saying it in 2025. Social media repetition was necessary to make the false claim land.

By contrast, my new fake quotes are slop. They are trite statements that often appear in a list of quotes from other writers — with no source links for any of us. I have yet to discern the point, except to destroy the notion of reporting itself. I suspect that the other quotes are also fabricated, since I am not the only person with an AI doppelganger making the fake news rounds.

I had a nightmare recently that I was not admitted into a building because I am not “AI compliant.” I trust dreams more than reality these days, and I fear this is the American future: social credit scores, digital currency, mandatory tech. I refuse. I am AI disobedient, and I will stay that way.

But I will admit to a pang in my all too human heart. A longing for bygone days when nightmares ended when we woke up — instead of just beginning.

* * *

Thank you for reading! I would never paywall in times of peril. But if you’d like to keep this newsletter going, please consider becoming a paid subscriber. That ensures every article in the archives remains open to everyone. This newsletter is the main source of income for my family of four, so I appreciate your support!

Thank you for reading! I would never paywall in times of peril. But if you’d like to keep this newsletter going, please consider becoming a paid subscriber. That ensures every article remains open to everyone. This newsletter is the main source of income for my family of four, so I appreciate your support!

Sarah Kendzior’s Newsletter is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.