Difficulty makes him stand still.
It is ignorant behaviour.
(The I-Ching, 4, Meng) 
“It is embarrassing to be a prophet. There are so many pretenders, predicting peace and prosperity, offering cheerful words, adding strength to self-reliance, while the prophet predicts disaster, pestilence, agony, and destruction.”
Heschel, The Prophets.
Creative conformity is a product of the myth of community.
“We no longer eat; we consume food. We no longer read books; we consume content. We no longer listen to music or watch films; we consume media. We are no longer artists and aesthetes (sahṛdaya, those ‘possessed of heart’); we have allowed ourselves to be redefined solely as producers and consumers in the global marketplace, and what’s more, started to take pride in this vocabulary of production and consumption.”
https://www.asymptotejournal.com/blog/2023/08/09/the-dance-of-siva/?src=longreads
Emaho! Hey child! Come hither, come to my side!
The whole body and speech are the mind itself.
Emaho! There is no body and speech other than the mind.
The mind is devoid of birth and death.
Emaho! There is no death to thy body.
Hey Child, thou are immortal and intrinsically free.
A sacrifice of yourself that nourishes yourself and others. 
The way of things. 
Writers, thinkers, and artists will be much more inclined to verify because they’ve built a career on the identity-and-reputation model of brand development.
Twitter and worldcoin race to verify as many people as possible. Anyone not verified can be dismissed as a bot. Art by artists who have chosen to protect themselves by not disclosing their identity can then be dismissed as the work of an AI.
"Among many people, the fear that man will be enslaved by his machines has given way to a hope that man will become something like a machine in his own right"
(Christopher Lasch, The Minimal Self: Psychic Survival in Troubled Times)
The lure of praise is as creatively constraining as the fear of critique.
“much advanced technology embodies by design (in both senses of the word) a one-way system of management and communication. It concentrates economic and political control—and, increasingly, cultural control as well—in a small elite of corporate planners, market analysts, and social engineers. It invites popular “input” or “feedback” only in the form of suggestion boxes, market surveys, and public opinion polls. Technology thus comes to serve as an effective instrument of social control—in the case of mass media, by short-circuiting the electoral process through opinion surveys that help to shape opinion instead of merely recording it, by reserving to the media themselves the right to select political leaders and “spokesmen,” and by presenting the choice of leaders and parties as a choice among consumer goods."
(Christopher Lasch, The Minimal Self: Psychic Survival in Troubled Times)
A literary and intellectual tradition based around linear reputation and the sustaining of an identity-brand that then must be protected is entirely ill equipped to combat a largely anonymous or pseudonymous challenge.
A face becomes a liability.
https://www.theatlantic.com/magazine/archive/2023/09/bronze-age-pervert-costin-alamariu/674762/
Homeless thought is thought that belongs or is beholden to no state, institution, tradition or consistent identity. Homeless thought is thought that makes a virtue of exile and, in doing so, makes exile impossible.
“A new generation of intellectuals does not think of books as the foundational units of its knowledge. Novels are produced (but hardly read) as aspirational props for performative values rather than self-spelling devices of personal liberation or pleasure — and anyways are mostly seen as untimely ideas ambered in antiquated packaging.”
“our most urgent critical task is no longer to defend popular culture but to analyze a specifically neoliberal configuration of capital and art that, at the least, complicates our understanding of the arts as free practices.”
https://post45.org/2020/08/the-7-neoliberal-arts-or-art-in-the-age-of-mass-high-culture/
“Individual subjectivity was forsaken in favor of pseudonymity, the impersonation of others, collective authorship, and collaborations with software. It was a moment of great cultural malleability.”
“So far as I’m aware, nobody in art — and the same goes for the literary scene — is even trying to be avant-garde. Much of the art world is actively and outspokenly opposed to the idea of aesthetic progress or provocation, and has turned backwards, into an arrière-garde.”
Not anonymous, not pseudonymous, but faceless.
It has never been more important for writers and artists to bring into being a space of thought and creativity entirely detached from identity, persona, and reputation. “Verify the world” has profound implications for writers, thinkers and artists.