The Seasickness of the Soul

There’s a feeling I’ve come to know well, one I feel on Sundays—but it’s not the scaries.

It’s not just the dread of going back to work, but something deeper. It’s that feeling I get when I don’t know whether I’m able to live and be myself or whether I have to perform. It’s that feeling we get—when we can’t quite tell what is real and what is theater—and it’s not anger or frustration exactly.

It’s less like anger and more like nausea. Not of the body, but of the mind and spirit. It’s a nausea that comes from the blurring of what is real and what is not—and the disorientation that causes.

This epistemic nausea is not the same as moral disgust. I don’t mean the feeling of being sick to your stomach when someone does something so ethically wrong that we are repulsed.

I mean something amoral and dizzying, more akin to being on a boat in choppy waters. The longer we’re on the boat, the more exhausted we get trying to keep steady, and the more we feel like we’re going to throw up. It’s not a repulsion to injustice, but a seasickness of the soul.

To be clear, here’s what I mean by theater and reality.

Theater is the realm of our lives where the point is applause and selling tickets—at least for the people on stage. For the audience, the point is to be entertained, and perhaps to feel something, anything, novel as they deal with the overwhelming drudgery of reality.

At its best, theater is also about ideas—putting a magnifying glass to one small aspect of reality, critiquing it, and showing us a better way.

Reality is less glamorous, but it’s the source of meaning and joy. Reality is the realm where the point is to survive, to love and be loved, to act in a way that makes us and our ancestors proud, to find peace, and to serve others. What makes this hard is that living is struggle.

And to be even more clear, I don’t think the mere existence of theater or the inevitable suffering of reality is the source of this nausea. The nausea comes from when we don’t know whether we’re in reality or theater. Trying to decipher the truth when the two blur makes our heads spin. That dizzying state of being is what causes epistemic nausea.

I was thinking of writing a whole post on the different ways reality and theater blur. There are many obvious examples: reality TV, social media, and the posturing that happens in politics, business, and religon.

And there are more subtle examples too—like the “relationships” people form with AI chatbots, the “friendships” we have with people we may spend time with but who don’t actually know us. Or even the intense pressure and expectations we put on ourselves or our children to perform and achieve.

But does an abstract discussion picking apart the nuances of theater and reality really matter?

Those of us out here in the real world—trying to figure out when to buy groceries during the week, how to pay for day care, fit in 30 minutes of exercise so we don’t gain weight as our metabolism slows, and save money by fixing our damn washing machines before our kids run out of clean underwear—we don’t have time to sit around theorizing. We need to know what this nausea is and how to manage it.

To deal with epistemic nausea, I see one of two options.

The first is: we can escape into theater. We can surround ourselves with the fantasyland of performance, telling ourselves whatever stories we want to believe to feel how we want to feel. To be clear, this does numb the nausea.

The problem with fully replacing reality with theater—perhaps not obviously—is that we never really live. We never really love. We never really serve. We may never suffer, but we never build the character that comes only from overcoming it. I don’t want all that to be pretend. I want to live my life, not perform it as a character in a world I’ve made up.

The other option is, honestly, to just deal with it. If we can’t escape, we must navigate. If this epistemic nausea is a dizziness akin to sea sickness, we have to be sailors. And what do sailors do?

They have anchors to hold steady. To me, unconditional love is an anchor. When I’m nauseous, I turn to my family. Yesterday, when I was particularly seasick, we celebrated our brother’s birthday as a family. When we had a consequential appointment for our newborn, I wanted to call my mom with the good news. Being part of unconditional love—both ways—is an anchor.

Sailors also have rudders. To me, rudders are character: a set of convictions, values, and habits we hold to. It’s saying—no matter what happens, no matter what may or may not be real—I’m going to act like this. No matter who is in front of me, I’m going to treat them like this. However rough the seas, this is who I’m going to be.

Finally, just like boats, we can leave a wake. This is a metaphor about leadership and culture that I really value.

A boat can head into rough waters and leave the trail of water behind it calmer. We can do that too. We don’t have to participate in the misdirection and blurring of reality and theater. When we are in the realm of real, we can be real—instead of posturing, signaling, and bullshitting. And when we are in the realm of theater, we can be honest about what we’re doing and let our performance move the culture forward by challenging the worst parts of reality. That makes the difference between theater and reality clearer—not more blurry.

This epistemic nausea of the mind and soul debilitates me. But can any of us really control it?

Complaining about social media, what famous people do and say, or the distortions of reality made possible by AI doesn’t move us forward. What we can do is anchor with unconditional love, build a rudder of character to keep us straight, and of course, leave a wake—so we leave the seas behind us calmer than the ones we headed into.

We can’t stop the storm, but we can sail through it.

We can’t stop the blurring of reality and theater—but we can at least do this.