The true sentence is usually the worse-sounding one.

There was a stretch of years when I would get to the Varment Guard yard before most of the crews, and what I remember is the sound more than the sight — twenty-odd trucks pulling in already running, warm from the drive, ready for the day and the hiss of a bay door going up. Most of the fleet never saw the yard in the morning. Ninety trucks and the men took them home, so at any hour of any night our trucks were scattered across Ohio in ninety driveways. Only the ones needing parts or a swap came in. But, standing there at six, what you saw was rows of black and gold, same logo, same ladder racks, same lettering on the door, men in the same uniform crossing between them with coffee.

I was proud of that lot. And, because of that pride it complicates everything I’m about to say.

We made them identical on purpose, and it cost money to keep them that way. Not for efficiency — for recognition( and maybe a little efficiency). Sending the trucks home every night was part of it. Ninety black and gold trucks sitting overnight in ninety neighborhoods is ninety people seeing us before they ever need us, so that a woman who noticed one in her neighbor’s driveway on Tuesday knew it on sight when it pulled into hers on Friday. She had already decided something about us before anyone knocked. That is how a stranger comes to trust you enough to let you into her crawlspace at ten at night. The sameness was a promise, of knowing that we had to be good enough, often enough, for the promise to be worth anything. Uniformity without a company behind it is just paint.

Which is why it took me a while to understand what bothers me about the internet now.

Because it looks like my back lot, and it shouldn’t. Scroll for ten minutes and you’ll see it — the same post, the same words, the same three-beat structure, the same gentle authority, the same closing invitation to reflect. Row after row of the same thing, parked, in the back lot. But our trucks were never supposed to be parked together. The whole design was to get them out and scattered, one to a street, each one sitting in front of a particular house belonging to particular people. What is filling the internet is the opposite: the livery piled up in one place where nobody lives, all the recognition with nothing behind it. No company. No crews. Nobody who answers the phone when it goes wrong at ten at night.

Nobody decided this, which is the strange part. At Varment Guard we chose the sameness and paid for it and could defend it in a room. What’s happening now is a lot that filled up by default, truck by truck, with no one ever choosing the colors.

I know how it happens, because I know how it almost happens to me. You sit down to write. Something comes back fluent and competent and nearly right. “Nearly right” has a gravitational pull that “wrong” never had. Wrong you fight. Nearly right you accept, because fixing it feels like fussiness, and because it already sounds like something that would do well. The median is seductive precisely because it is the shape of what has already worked for everyone else. Right?

The contemplative tradition has a name for this, and it is older than any of our tools. Thomas Merton spent his life circling what he called the false self — not a liar, not a villain, but the self we assemble out of what the room is known to approve of. It is competent. It is often admired. It is also, in his reading, not anyone. The desert monastics worried about the same thing in a different space. They were forever warning young monks against copying an elder’s practice instead of finding their own, because a borrowed discipline produces a borrowed man.

Here is the part that matters for anyone who isn’t writing anything. The parking lot is not primarily a content problem. It is an interior one, and it had a head start on the technology by several thousand years.

I sit with people for a living and what I hear, more often than anything else, is pre-owned language. Someone describes their marriage in the vocabulary of a podcast they heard. Someone names a career crisis in terms borrowed whole from an article they read. Someone tells me about their grief in the precise phrasing of the last condolence card they received. None of it is dishonest. All of it is context with nothing behind it yet. My work in that room is almost never to supply a better framework or give answers — it is to keep asking until something comes out that nobody handed them. You can hear it when it happens. The sentence gets worse. It gets halting and specific and a little embarrassing, and it is the first true thing said in forty minutes.

That is the whole discipline, as far as I can tell. The true sentence is usually the worse-sounding one.

I wrote in the last blog about my father in his studio, and how he would set aside a piece that was nearly finished because a quarter inch in the slope of a cheek had gone wrong. He could not paint over wood. He had to go back to the log and start again. It took me fifty years to understand he was describing the same thing I am describing here from the other end — that the fluent, finished, nearly right version is the most dangerous thing on the table, because it is the hardest one to see a fault in.

The Enneagram makes the same case from another direction. Each type is, among other things, a strategy for being acceptable — a reliable way of getting approval, safety, or distance that worked so well, so early, that it stopped feeling like a strategy and started feeling like a personality. Nine types, nine very sophisticated paint schemes. The work is not to trade your type for a better one. It is to notice the moment you reach for the familiar move and ask whether this situation is asking for it, or whether you are just driving the truck because it is the one in the lot.

Which brings me back to the yard, and to the thing I had wrong for years.

I thought the fleet was the achievement. It wasn’t. I knew those crews. I knew Steve and Brad and Harry — what each of them was carrying into the truck at six in the morning, what was waiting when they got home, which of them was in a season that was going to hold and which of them was in one that wasn’t. The trucks were identical. Steve and Brad and Harry were never identical, not for one morning, and every night those ninety identical trucks went home to ninety different lives. The black and gold only ever went as deep as the paint.

That is also what made the brand mean anything. The uniformity was never the product. It was a way of pointing at ninety particular people who showed up and did the work. Take them out and you still have the trucks, and the trucks are worth nothing.

So the question the internet raises isn’t really about sameness. The lot is going to fill up; it already has. The question is whether there is anyone in the cab?

Ninety Trucks, Ninety Driveways Reflection Sheet

What I have come to is unglamorous. Before I publish, before I say the thing in the meeting, before I offer the observation in a session that I can tell will land well, I try to ask one question. Is this mine, or did I pick it up in the lot? Not “is it true” — the median is usually true. True and borrowed are not opposites. The question is whether it came up out of a life or came in off a shelf, and I find I can tell, if I am willing to be slow about it for ten seconds.

Most mornings I don’t like the answer. The borrowed version is better written. It is always better written. That is the problem.

But I think about standing in that cold lot at six in the morning, looking at what I believed was uniformity, when what was in front of me was ninety people I would have had to ask, one at a time, to learn anything true about. The sameness was real. It was also, every single morning, the least interesting fact about what I was looking at.

Peace and every good.

About Jim & Lynette Vaive

Jim and Lynette Vaive are the co-founders of spirit of EQ and co-authors of The Mystical Seeker. They are Master Certified Coaches, certified Narrative Enneagram teachers, and Certified Spiritual Directors, and together they hold credentials in Spiritual Emotional Intelligence (SEQ) — a framework rooted in Lynette’s Doctor of Ministry research. Learn more at spiritofeq.com.

AI assisted, not written.

Sources

Thomas Merton on the false self — developed across his work, most directly in New Seeds of Contemplation (1961).

The sayings of the desert fathers and mothers on not imitating another’s practice: the Apophthegmata Patrum (Sayings of the Desert Fathers).