The Friday Poem ‘The Good Life’ by Tracy K. Smith

The new U.S. poet laureate, Tracy K. Smith, considers the writing of poetry “a superpower.” 

“A good poem teaches you to look at the ordinary world and see something completely new within it.”

On Thursday she was interviewed by Charlie Rose on the CBS Morning News. He asked, “Why did you become a poet?”

“I loved what poems did for me as a reader. Even as a child I loved the sound of language and the sense of surprise that poems could inspire.”

The Friday poem this week is ‘The Good Life’ from the 2012 Pulitzer Prize winning collection, ‘Life On Mars: Poems’.

The Good Life

When some people talk about money
They speak as if it were a mysterious lover
Who went out to buy milk and never
Came back, and it makes me nostalgic
For the years I lived on coffee and bread,
Hungry all the time, walking to work on payday
Like a woman journeying for water
From a village without a well, then living
One or two nights like everyone else
On roast chicken and red wine.

Tracy K. Smith    ‘Life on Mars: Poems’ 2011

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Photo credit: Shawn Miller/Library of Congress

 

 

The week@work – gender gap @ the BBC, on Broadway & the C-Suite, plus four work/life questions while staring @ the ocean

This week@work the BBC published the salaries of top earners, and the gender pay gap at the broadcaster became the latest global headline news on the topic. Turns out the folks who work in theater and aspire to the corporate C-suite are finding the same barriers. Maybe it’s time to review your work/life view ‘from the beach’.

Sophie Walker, leader of the Women’s Equality party in the UK shared her opinion ‘It’s not just the BBC that must come clean about underpaying women’.

“When the BBC published the salaries of its top earners, the results were not surprising, but they were shocking. They even managed, momentarily, to silence the gender pay gap myth-busters: the trolls who daily patrol social media challenging any mention of a pay gap with supposedly hard facts about the “choices” women make.

Here is the real hard fact: women are paid less because we are considered to be worth less. The gender pay gap is a symptom of the structural barriers that women face, which can be seen at every level of working life and across every industry. It thrives on the unconscious bias that goes unchallenged by the surplus of white men in decision-making roles, and is magnified by occupational segregation, unequal caring responsibilities and pervasive stereotypes that intersect with class, race, age, sexuality and disability.”

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In an open letter to BBC director general Tony Hall, over 40 high profile presenters made a case for immediate action to remedy the inequality.

“The pay details released in the annual report showed what many of us have suspected for many years … that women at the BBC are being paid less than men for the same work.

Compared to many women and men, we are very well compensated and fortunate. However, this is an age of equality and the BBC is an organisation that prides itself on its values.

You have said that you will “sort” the gender pay gap by 2020, but the BBC has known about the pay disparity for years. We all want to go on the record to call upon you to act now.

Beyond the list, there are so many other areas including production, engineering and support services and global, regional and local media where a pay gap has languished for too long.

This is an opportunity for those of us with strong and loud voices to use them on behalf of all, and for an organisation that had to be pushed into transparency to do the right thing.”

Mr. Hall responded “…that the move to close the gender pay gap at the public broadcaster will be “accelerated” and that there would be a “marked difference” when salaries were published next year.”

The BBC story was not unique last week as Laura Collins-Hughes reported ‘When Women Won’t Accept Theatrical Manspreading’.

times sq“In theater as in life, there is a lot of manspreading: Men get more jobs, more money, more prizes, more stories told about them onstage than women do. The numbers are grim nearly everywhere, but especially on Broadway, where an Actors’ Equity study released last month showed female and minority actors and stage managers at a gross disadvantage to white men.

A recent tally on HowlRound, a theater industry website, documented the staggering lead men have over women as designers, directors and artistic directors in American regional theaters. Men dominate every area but costume design, where women traditionally hold sway.”

The third story on women@work this week was Susan Chira’s exploration of ‘Why Women Aren’t C.E.O.s, According to Women Who Almost Were’.

IMG_9129.jpg“More than 40 years after women began pouring into the workplace, only a handful have made it all the way to the top of corporate America. The percentage of chief executives of Fortune 500 companies who are women just passed 6 percent, creeping up (and occasionally dropping back) at a glacial pace.

The impact of gender is hard to pin down decisively. But after years of biting their tongues, believing their ranks would swell if they simply worked hard, many senior women in business are concluding that the barriers are more deeply rooted and persistent than they wanted to believe, according to interviews with nearly two dozen chief executives, would-be chief executives, headhunters, business school deans and human resources professionals.

What they say: Women are often seen as dependable, less often as visionary. Women tend to be less comfortable with self-promotion — and more likely to be criticized when they do grab the spotlight. Men remain threatened by assertive women. Most women are not socialized to be unapologetically competitive. Some women get discouraged and drop out along the way. And many are disproportionately penalized for stumbles.”

Which brings me to a constructive response from Art Markman, ‘Four Work-Life Questions to Ponder on Vacation This Summer’.

mb fog.jpg“It’s true that vacationing can hold some unexpected career benefits, in addition to letting you recharge your batteries and do some self-reflection about your working life, your personal life, and your overall goals. But musing on these big-ticket themes isn’t something many of us have a lot of practice doing. When you finally get a chance to do it, you might find your thoughts a little unfocused. That’s fine—mind-wandering is sort of the point here. But in case you need a little more structure, these are four questions to let your mind wander over.”

“Am I happy at work?”, “Where am I headed?”, “Who don’t I know?”, and “What’s Missing?”

This week@work consider your answers and once you have a sense of your ‘work identity’, use your voice@work to advocate on behalf of all and equality@work.

Photo credit: Cartoon – The Telegraph, MattCartoon July 20, 2017

The Friday Poem ‘The Way It Is’ by William Stafford

“There’s a thread you follow.” opens this week’s Friday Poem, ‘The Way It Is’, from poet, writer, and photographer William Stafford.

As a conscientious objector during the second World War, Stafford worked in civilian public service camps for the U.S. Forest Service in Arkansas and California. In 1948 he moved to Oregon to teach at Lewis and Clark College.

In 1963 he was selected to receive the National Book Award from a group of nominees including William Carlos Williams and Robert Frost. He served as Consultant in Poetry to the Library of Congress in 1970, a position that today carries the title of Poet Laureate.

In addition to his 65 volumes of poetry and prose, he left a collection of 16,000 photographic negatives to the archive at Lewis and Clark College. In a 2014 interview for Oregon Public Broadcasting, his son, Kim Stafford commented on his father’s discomfort with the spotlight. “When he became famous, the camera allowed him to leave the center of the circle and document the other writers.”

His lifetime spanned decades of dramatic change, and yet he stayed true to his values. His accomplishments and awards did not distract. “…You don’t ever let go of the thread”.

The Way It Is

There’s a thread you follow. It goes among
things that change. But it doesn’t change.
People wonder about what you are pursuing.
You have to explain about the thread.
But it is hard for others to see.
While you hold it you can’t get lost.
Tragedies happen; people get hurt
or die; and you suffer and get old.
Nothing you do can stop time’s unfolding.
You don’t ever let go of the thread.

William Stafford   ‘The Way It Is’   Graywolf Press, 1999

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Photo credit: Kim Stafford

The Saturday Read ‘The Prophet of Dystopia’ by Rebecca Mead

What if you had reached the “Gold Watch and Goodbye” phase of your career only to be catapulted back into the spotlight by current events?

That seems to be what’s happening to Canadian author Margaret Atwood as her ‘new’ literary sensation, ‘The Handmaid’s Tale’, originally published in 1985, leads the literary fiction category on Amazon and is number ten on The New York Times Paperback Trade Fiction list. A film version of the book will begin streaming on Hulu next week. And earlier this week Ms. Atwood was included in the list of  Time Magazine’s 100 Most Influential People.

The Saturday Read is Rebecca Mead‘s multi-dimensional profile ‘The Prophet of Dystopia’.

The ‘Gold Watch and Goodbye’ career reference is evident as Ms. Mead brings us along on a March evening when Ms. Atwood received the National Book Critics Circle lifetime-achievement award. In her closing remarks the author asked, “Why do I only get one lifetime? Where did this lifetime go?”

The profile offers a panoramic view of this one lifetime; from one writers beginnings to mentor and evangelist for new writers.

“Atwood was born in Ottawa, but she spent formative stretches of her early years in the wilderness—first in northern Quebec, and then north of Lake Superior. Her father, Carl Atwood, was an entomologist, and, until Atwood was almost out of elementary school, the family passed all but the coldest months in virtually complete isolation at insect-research stations; at one point, they lived in a log cabin that her father had helped construct.”

In college she switched majors from philosophy to literature. She challenged the traditional canons of British and American literature with an argument for Canadian literature and its dominant theme of survival.

“Our stories are likely to be tales not of those who made it but of those who made it back from the awful experience—the North, the snowstorm, the sinking ship—that killed everyone else.”

She was an established writer before “the sometimes divisive years of second-wave feminism” and wrote an essay giving voice to colleagues.

“It’s not finally all that comforting to have a phalanx of women . . . come breezing up now to tell them they were right all along,” she wrote. “It’s like being judged innocent after you’ve been hanged: the satisfaction, if any, is grim.”

“Her feminism assumes women’s rights to be human rights, and is born of having been raised with a presumption of absolute equality between the sexes…

Atwood’s early years in the forest endowed her with a sense of self-determination, and with a critical distance on codes of femininity—an ability to see those codes as cultural practices worthy of investigation, not as necessary conditions to be accepted unthinkingly. This capacity for quizzical scrutiny underlies much of her fiction: not accepting the world as it is permits Atwood to imagine the world as it might be.”

It’s the fearless questioning that has resonated over time and reintroduced readers to the classic ‘The Handmaid’s Tale’ this spring.

Rebecca Mead’s profile of the thoroughly modern, septuagenarian writer is required reading as a companion to the novel.

“In a photograph taken the day after the Inauguration, at the Women’s March on Washington, a protester held a sign bearing a slogan that spoke to the moment: “make margaret atwood fiction again.”

 

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@latimesfob this weekend:

The Handmaid’s Tale from Page to Screen: Margaret Atwood & Bruce Miller in Conversation with Mary McNamara, Conversation 2063 Sunday, April 23 @2:30PM in Bovard Auditorium on the University of Southern California campus

The Friday Poem ‘Remember’ by Joy Harjo

April is National Poetry Month and next Thursday, April 27 is ‘poem in your pocket day’. Download your favorite poem or one from the Academy of American poets site, carry it around with you for the day and share it with friends and colleagues.

The Friday Poem this week comes from the Academy’s selection, ‘Remember’ by Joy Harjo.

Remember

Remember the sky that you were born under,
know each of the star’s stories.
Remember the moon, know who she is.
Remember the sun’s birth at dawn, that is the
strongest point of time. Remember sundown
and the giving away to night.
Remember your birth, how your mother struggled
to give you form and breath. You are evidence of
her life, and her mother’s, and hers.
Remember your father. He is your life, also.
Remember the earth whose skin you are:
red earth, black earth, yellow earth, white earth
brown earth, we are earth.
Remember the plants, trees, animal life who all have their
tribes, their families, their histories, too. Talk to them,
listen to them. They are alive poems.
Remember the wind. Remember her voice. She knows the
origin of this universe.
Remember you are all people and all people
are you.
Remember you are this universe and this
universe is you.
Remember all is in motion, is growing, is you.
Remember language comes from this.
Remember the dance language is, that life is.
Remember.
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Want to improve your communication skills? Spend the weekend at #bookfest

Want to improve your communication skills? I have two items to add to your ‘to do’ list: The Los Angeles Times Festival of Books and the ‘How I Got Here’ podcast.

How do these dots connect? Pulitzer prize winning author, Jon Meacham put it simply as a guest on the April 4th podcast:

“There is a direct connection between the number of great books you read and your own capacity to express yourself.”

Think about it. Now consider your catalog of reading materials over the past month. Could there be a connection with the difficulty you are encountering coming up with a business proposal in more than 140 characters/no emoji?

Time for a cultural intervention this weekend to jump start your personal ‘communication improvement project’.

Step one: Come to Los Angeles for the LA Times Festival of Books on the campus of the University of Southern California. Step two: Maintain the momentum with a subscription to the weekly ‘How I Got Here’ podcast.

The book festival is a two day event hosting authors, poets, and musicians discussing their work at moderated panels and outdoor stages. All the events are free and provide amazing access to those creating art in these interesting times.

As an example, my itinerary for the weekend includes a two panels on biography and epic history, four ‘indoor’ conversations with George Saunders, Roxanne Gay, Chris Hayes and Margaret Atwood, and an a cappella performance by the SoCal VoCals.

I doubt you will leave the venue without at least one new book (perhaps bearing an author signature) to continue your adventure in reading and improved communication.

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Next week on your commute or morning run listen to ‘How I Got Here’. The podcast, hosted by Georgetown University grads Tim Barnicle and Harry Hill, is a weekly exploration of the diverse career trajectories of various luminaries.

Imagine sitting for an hour with your career idol as they describe their path to success.

If you believe we learn from the wisdom of others, events and podcasts are a treasure trove of accumulated knowledge.

What are you waiting for?

 

 

 

The Friday Poem ‘Baseball’ by Gail Mazur

The Friday Poem this week is for those whose workplace is the ballpark. It’s the first week of April and the dream of a World Series Championship is possible for each of Major League Baseball’s thirty franchises and their fans.

Our ‘national pastime’ has often been used as a metaphor for life. Poet Gail Mazur shared her connection to the diamond with her poem ‘Baseball’.

“Well, of course, baseball, to the ardent fan, IS a metaphor and more. I couldn’t write that poem until I thought of denying baseball was a metaphor, then I could go all out. Everything about the game and the park seemed like metaphor. And a fan’s sense of loss—or exhilaration—no matter how intense, is more bearable than the real losses in our lives. But still, but still, one feels one lives and dies, as the saying goes, with one’s team! After the first line, I wrote it in a few minutes, one of those gifts”

Baseball
for John Limon

The game of baseball is not a metaphor
and I know it’s not really life.
The chalky green diamond, the lovely
dusty brown lanes I see from airplanes
multiplying around the cities
are only neat playing fields.
Their structure is not the frame
of history carved out of forest,
that is not what I see on my ascent.

And down in the stadium,
the veteran catcher guiding the young
pitcher through the innings, the line
of concentration between them,
that delicate filament is not
like the way you are helping me,
only it reminds me when I strain
for analogies, the way a rookie strains
for perfection, and the veteran,
in his wisdom, seems to promise it,
it glows from his upheld glove,

and the man in front of me
in the grandstand, drinking banana
daiquiris from a thermos,
continuing through a whole dinner
to the aromatic cigar even as our team
is shut out, nearly hitless, he is
not like the farmer that Auden speaks
of in Breughel’s Icarus,
or the four inevitable woman-hating
drunkards, yelling, hugging
each other and moving up and down
continuously for more beer

and the young wife trying to understand
what a full count could be
to please her husband happy in
his old dreams, or the little boy
in the Yankees cap already nodding
off to sleep against his father,
program and popcorn memories
sliding into the future,
and the old woman from Lincoln, Maine,
screaming at the Yankee slugger
with wounded knees to break his leg

this is not a microcosm,
not even a slice of life

and the terrible slumps,
when the greatest hitter mysteriously
goes hitless for weeks, or
the pitcher’s stuff is all junk
who threw like a magician all last month,
or the days when our guys look
like Sennett cops, slipping, bumping
each other, then suddenly, the play
that wasn’t humanly possible, the Kid
we know isn’t ready for the big leagues,
leaps into the air to catch a ball
that should have gone downtown,
and coming off the field is hugged
and bottom-slapped by the sudden
sorcerers, the winning team

the question of what makes a man
slump when his form, his eye,
his power aren’t to blame, this isn’t
like the bad luck that hounds us,
and his frustration in the games
not like our deep rage
for disappointing ourselves

the ball park is an artifact,
manicured, safe, “scene in an Easter egg”,
and the order of the ball game,
the firm structure with the mystery
of accidents always contained,
not the wild field we wander in,
where I’m trying to recite the rules,
to repeat the statistics of the game,
and the wind keeps carrying my words away

Gail Mazur  ‘Zeppo’s First Wife: New and Selected Poems’ 1978

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The Saturday Read – ‘The Undoing Project: A Friendship that Changed Our Minds

The Saturday Read this week is the latest book from Michael Lewis, ‘The Undoing Project: A Friendship that Changed Our Minds’. It’s the story of Israeli psychologists Daniel Kahneman and Amos Tversky; two men who baffled colleagues at their pairing from the early days of their academic careers until the point when the public perception “was now a Venn diagram, two circles, with Danny wholly contained by Amos”.

Reading ‘The Undoing Project’ I found myself underling and annotating as I went along, re-reading passages, flipping between chapters; engaged in an academic exercise vs. an enjoyable character-driven narrative.

It’s the first time I’ve read a Michael Lewis book where I heard the voice of a Princeton alum more clearly than those of the two main characters.

Here’s the strange thing, as painful as the first read was; I keep thinking about the practical applications of the pair’s research long after the final page.

“The way the creative process works is that you first say something, and later, sometimes years later, you understand what you said.”

Read something and sometime later you understand how it applies.

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Both of these men had exceptional origin stories. Each was a genius in his own right. Each started out where we all do, with a certain degree of uncertainty about what to do with our lives.

For Danny, “From the moment he thought what he might be when he grew up, he simply assumed he would be an intellectual. That was his image of himself: a brain without a body… He’d always sensed that he would be some sort of professor, and the questions he had about human beings were more interesting to him than any others. “My interest in psychology was a way to do philosophy…to understand the world by understanding why people, especially me see it as they do.”

“Aptitude tests revealed Danny to be equally suited for the humanities and science, but he only wanted to do science. He also wanted to study people. Beyond that, it soon became clear, he didn’t know what he wanted to do.”

In an interview with Stephanie Demming, published in December, he further clarified his path.

“My own love affair with psychology began after I graduated from university in 2009, as soon as I started working in the real world. It took all of two minutes to figure out the working world didn’t function like the school system. If you worked hard, you weren’t always rewarded. The new currency was whether or not people liked you. It was a system governed not by grades, but by people’s minds.”

For Amos, “Entering high school, Amos like all Israeli kids, needed to decide if he would specialize in math and science or in the humanities. The new society exerted great pressure on boys to study math and science. That’s where the status was, and the future careers. Amos had a gift for math and science, perhaps more than any other boy. And yet alone among the bright boys in his class – and to the bemusement of all – he pursued the humanities.”

“Hebrew University in the late 1950s required students to pick two fields of concentration. Amos had chosen philosophy and psychology.  But Amos approached intellectual life strategically, as if it were an oil field to be drilled, and after two years of sitting through philosophy classes he announced that philosophy was a dry well…There are too many smart guys and too few problems left, and the problems have no solutions.”

Later, in his mid-forties he was asked by Harvard professor Miles Shore how he became a psychologist.

“It’s hard to know how people select a course in life…The big choices we make are practically random. The small choices probably tell us more about who we are. Which field we go into may depend on which high school teacher we happen to meet…On the other hand, the small decisions are very systematic. That I became a psychologist is probably not very revealing. What kind of psychologist I am may reflect deep traits.”

The career choices of these two individuals resulted in a collaboration that challenged conventional thinking on human judgement and decision making.

“A part of good science is to see what everyone else can see but think what no one else has ever said.”

“Given the work on human judgment that he and Amos had just finished, he found it further troubling to think that “crucial decisions are made, today as thousands of years ago, in terms of the intuitive guesses and preferences of a few men in positions of authority.” The failure of decision makers to grapple with the inner workings of their own minds, and their desire to indulge their gut feelings, made it “quite likely that the fate of entire societies may be sealed by a series of avoidable mistakes committed by their leaders.””

This was the book that Michael Lewis had to write. It was the origin story of his best seller ‘Moneyball’. A writer is often compelled to follow his curiosity and tell the stories he finds as he explores the tangents. ‘The Undoing Project’ may not be his best narrative, but it’s his best connection to the reality of the decisions ordinary folk face @work every day.

“I’ve always felt  ideas were a dime a dozen…If you had one that didn’t work out, you should not fight too hard to save it, just go find another.”

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‘To Inez Milholland’ a poem by Edna St. Vincent Millay

On this last day of March, the Friday Poem is ‘To Inez Milholland’ by Edna St. Vincent Millay; reminding us to “to take up the song; forget the epitaph”.

In 1987 Congress designated March as Women’s History Month. Thirty years later, the month has not been a good one for women, with one bright exception. On March 23 the State of Nevada ratified the Equal Rights Amendment, thirty-five years after the 1982 deadline set by Congress.

March is also the time of year that hundreds of U.S. school children visit Washington D.C. and traverse the Capitol rotunda. For many it’s their first encounter with the history of the women’s suffrage movement, as they pass the portrait monument to Lucretia Mott, Elizabeth Cady Stanton and Susan B. Anthony.

Missing from the statue is Inez Milholland Boissevain. “A rare woman, she earned a Law degree at NYU and promptly became involved with the labor strikes of the Women’s Garment Workers and the Triangle Shirtwaist factory struggle. Throughout her life, Inez worked and fought for the underrepresented and the oppressed.”

In 1916, Inez was on a cross country campaign in support of a federal suffrage amendment when she collapsed and died while delivering a speech in Los Angeles. Her last public words, “Mr. President, How Long Must Women Wait for Liberty?”

On Sunday, November 18, 1923 a ceremony was held in the Capitol to commemorate the 75th anniversary of the women’s rights movement. Poet Edna St. Vincent Millay Boissevain (yes, she married Inez’ widower) was part of the group of 200 women who participated in the event. The day before they had presented proposed new legislation, written by Alice Paul to the president – The Equal Rights Amendment.

“The “poem” that Edna read is the sonnet “The Pioneer,” which encouraged women to continue to fight for equal rights. It is unclear if Edna wrote the lines about Anthony, Stanton, and Mott (the pioneers in the marble statue) or about Inez — or about all of them. However, by 1928, Edna had retitled the sonnet “To Inez Milholland.”

To Inez Milholland

Upon this marble bust that is not I
Lay the round, formal wreath that is not fame;
But in the forum of my silenced cry
Root ye the living tree whose sap is flame.
I, that was proud and valiant, am no more; —
Save as a wind that rattles the stout door,
Troubling the ashes in the sheltered grate.
The stone will perish; I shall be twice dust.
Only my standard on a taken hill
Can cheat the mildew and the red-brown rust
And make immortal my adventurous will.
Even now the silk is tugging at the staff:
Take up the song; forget the epitaph.

Edna St. Vincent Millay 1923

Three additional links of interest @the end of Womens History Month

‘A Trove on the Women’s Suffrage Struggle, Found in an Old Box’ The New York Times, March 29, 2017

New York Historical Society Center for Women’s History

Inez Milholland ‘Forward Into the Light’

The week@work – the war for talent, following vs. leading, exhaustion, and maybe we should ask a sociologist

The last state to approve the Equal Rights Amendment to the Constitution was Indiana in 1977 – until Thursday when Nevada ratified the ERA, thirty-five years after the deadline imposed by Congress. It was a welcome antidote to the White House photo of the freedom caucus taken the same day (above). Any odds on an extension to revisit and ratify?

“Nevada has given NOW President Terry O’Neill new cause for hope. “Now it’s a two-state strategy,” she tells the Times. “It’s very exciting. Over the past five years, Illinois and Virginia have come close. I think there is clear interest in this.

In other stories this week@work, journalists and experts provided an update on the ‘war for talent’, offered an argument for balancing followers with leaders in the workplace, and expressed concern with a ‘gig economy’ advertising campaign that seemed to glorify exhaustion@work.  The last story this week@work re-examined an idea from the 60’s to establish a Council of Social Advisers to complement the Council of Economic Advisers in D.C. “It’s not just work; it’s how work offers a sense of purpose and identity.”

Dr. Tomas Chamorro-Premuzic and Adam Yearsley believe ‘The War for Talent Is Over, And Everyone Lost’. They cite workplace trends indicating more passive job seekers, the appeal of self-employment and the lure of entrepreneurship as competitive factors for employers to attract the best and the brightest, and offer a few best practices to turn things around.

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“In 1998, after a year-long study on the subject, McKinsey researchers declared that a “war for talent” was underway. In the years ahead, they said, organizations’ future success would depend on how well they could attract, develop, and retain talented employees–an ever more valuable asset in ever higher demand.

Instead of winning a war for talent, organizations appear to be waging a war on talent, repelling and alienating employees more successfully than harnessing their skills.

Today, in a world full of many more Chief People and Chief Happiness Officers, that war nevertheless appears to have been lost on all sides. Of course, many workers excel in their jobs and make pivotal contributions to their organizations. But for every one employee who does, there are many more who are underemployed, underperforming, and just plain miserable at work.”

One of the employer prescriptions for success is to “stop developing people’s leadership skills”.

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“…research suggests there’s a strong negative correlation between the amount of money spent on leadership development (which in the U.S. totals over $14 billion a year), and people’s confidence in their leaders. One of the reasons is that leaders are often deprived of negative feedback, even in training programs. We’ve gotten so used to coaching to people’s strengths that weaknesses get left unaddressed. The basics of human psychology magnify that issue; people are already prone to judging their own talents way too favorably, especially after experiencing a measure of success.”

Which links neatly into the next story of the week@work, Susan Cain‘s ‘Not Leadership Material? Good.The World Needs Followers.’

“Perhaps the biggest disservice done by the outsize glorification of “leadership skills” is to the practice of leadership itself — it hollows it out, it empties it of meaning. It attracts those who are motivated by the spotlight rather than by the ideas and people they serve. It teaches students to be a leader for the sake of being in charge, rather than in the name of a cause or idea they care about deeply. The difference between the two states of mind is profound. The latter belongs to transformative leaders like the Rev. Dr. Martin Luther King Jr. and Gandhi; the former to — well, we’ve all seen examples of this kind of leadership lately.”

Jia Tolentino used Fiverr’s new ad campaign to illustrate ‘The Gig Economy Celebrates Working Yourself To Death’.

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“It does require a fairly dystopian strain of doublethink for a company to celebrate how hard and how constantly its employees must work to make a living, given that these companies are themselves setting the terms. And yet this type of faux-inspirational tale has been appearing more lately, both in corporate advertising and in the news. Fiverr, an online freelance marketplace that promotes itself as being for “the lean entrepreneur”—as its name suggests, services advertised on Fiverr can be purchased for as low as five dollars—recently attracted ire for an ad campaign called “In Doers We Trust.” One ad, prominently displayed on some New York City subway cars, features a woman staring at the camera with a look of blank determination. “You eat a coffee for lunch,” the ad proclaims. “You follow through on your follow through. Sleep deprivation is your drug of choice. You might be a doer.”

A Fiverr press release about “In Doers We Trust” states, “The campaign positions Fiverr to seize today’s emerging zeitgeist of entrepreneurial flexibility, rapid experimentation, and doing more with less. It pushes against bureaucratic overthinking, analysis-paralysis, and excessive whiteboarding.” This is the jargon through which the essentially cannibalistic nature of the gig economy is dressed up as an aesthetic.”

Maybe we need a few less economists and a few more humanists to address our life@work

There was a lot of discussion in the media this weekend in the wake of the health care bill defeat. What are the lessons learned? We might ask the same question about the November election result, only this time maybe we should be consulting with sociologists vs. economists. Neil Irwin asked “What if Sociologists Had as Much Influence as Economists?”.

“For starters, while economists tend to view a job as a straightforward exchange of labor for money, a wide body of sociological research shows how tied up work is with a sense of purpose and identity.

“Wages are very important because of course they help people live and provide for their families,” said Herbert Gans, an emeritus professor of sociology at Columbia. “But what social values can do is say that unemployment isn’t just losing wages, it’s losing dignity and self-respect and a feeling of usefulness and all the things that make human beings happy and able to function.

…the economic nostalgia that fueled Donald J. Trump’s presidential campaign was not so much about the loss of income from vanishing manufacturing jobs. Rather, it may be that the industrial economy offered blue-collar men a sense of identity and purpose that the modern service economy doesn’t.”

At the beginning of this new week@work consider where work fits in your sense of identity and purpose. It’s not just work.