David Griesing | Work Life Reward Author | Philadelphia

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Men At Work

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What makes your work worthwhile?

Last week economist Edmund Phelps got me thinking about some of the possibilities.  Is you mindset at work to expand your capabilities, to become your “better” self by confronting risks on the job for the possibility of even greater rewards—the fuel of entrepreneurs and everyone else who works to advance their own accounts—OR is it to pursue greater security in your life, accumulate more savings, and earn more time away from work?  OR maybe instead of working for yourself, you are striving to build solidarity with others through the services you provide: to strengthen the social fabric instead of just your strand of it.

Phelps also argued that competitive, entrepreneurial work produced tremendous success in the economy overall, while efforts to divert that energy into engineering a more secure, equal and just society has not only caused people to derive less satisfaction from their work over the past 50 years but also for the economy in general to stall. Phelps chose the values of rugged individualism over more collective social values when making his argument about pursing a good life through work.

Over the past week while I was mulling over some of your reactions to Phelps’ thesis, I discovered Harry’s Masculinity Report for 2018 on Twitter. In an era where gender roles in the American workplace are clearly in flux, what could “a masculinity report” possibly contribute? Was it a company’s marketing ploy or something more than that? Would it champion the rugged individual at work or somebody else entirely?

Harry’s is an on-line company that has carved out a highly successful niche for itself by selling men high quality razor blades and other shaving products more cheaply than market leaders Schick and Gillette. The write-up I caught said that its Report had:

surveyed 5,000 men ages 18-95 across the US, weighted for race, income, education, sexual orientation, military service, and more. The respondents were asked about their happiness, confidence, emotional stability, motivation, optimism, and sense of being in control. They were then asked how satisfied they are with their careers, relationships, money, work-life balance, physicality, and mental health, and also about the values that matter most to them.

The results showed a clear trend: The strongest predictor of men’s happiness and well-being is their job satisfaction, by a large margin—and the strongest predictor of job satisfaction is whether men feel they are making an impact on their companies’ success.

This measure, the study finds, is influenced by whether men feel they are using their own unique talents at work, whether they are surrounded by a diverse set of perspectives, how easily and often they can chat with co-workers, whether they feel their opinions are valued, and whether they’re inspired by the people they work with.

The Report itself seemed a bit thin after all that build up, but there were still some nuggets in it. The first was their data-supported effort to re-brand their customer base at a time when “how men act” and “what men want” has been broadly criticized. Another take-away came from seeing how Harry’s portrayed “the American man” it discovered in an ad campaign the company launched around the same time that the Report came out. And finally, the Report used some interesting words and phrases to describe the most significant component of male satisfaction.

According to Harry’s polling, American men are happiest when they are working.

Men at work are men at peace: everything else flows down from satisfying employment. Men who have high job satisfaction are more likely to feel optimistic, happy, motivated, emotionally stable, in control and confident. Job Satisfaction is by far the strongest predictor of positivity, being around three times higher than the next strongest predictor in every region and across the US overall…This is not primarily about wealth, but a sense of making a difference, being part of something bigger and more meaningful… Job satisfaction and the dignity of labor fulfills men’s desire to provide and protect.

Polling found that “Health” was the second driver of male positivity, while “Income” was the third.

I was initially dubious when the Report said Income was only important because of men’s desire “to provide [for] and protect” their loved ones. In my experience, many men (as well as women) want to make as much as possible so that they can consume as much as possible–or at least more than their neighbors. But the observation gained some legitimacy from how men described the central role that work plays in their lives. Martin Daubney, one of the Report’s authors, found that self-determination was far more important than making money for the majority of men who identified work as their primary source of self-esteem. He noted how frequently “autonomy – such as being a consultant or self-employed – was associated with increased job satisfaction.” On this point, Harry’s Report is both consistent with and different from Edmund Phelps’ assessment. It acknowledges the self-defining satisfaction of entrepreneurial labor but seems to reject the lure of financial reward beyond its ability “to provide and protect.”

In addition to re-branding its customers with this Report, Harry’s also wants to influence American policy makers. After all, this is an era when automation is eliminating many middle class jobs, robotics and artificial intelligence will replace even more of them, and post-industrial parts of America (like Pennsylvania, Ohio, Michigan and West Virginia) are struggling with high unemployment rates among mid-career men as well as the epidemics of addiction that seem to be associated with feelings of uselessness.  In this regard, Harry’s Report wants to change the policy-making focus from a negative to a positive one.

When service providers seek to engage men, whether in health, education, community, voluntary activities or any other front of social policy, there is often a temptation to address either the problems men have, at best, or the problems men cause, at worst. Our findings strongly suggest that the values which men aspire to most are traditional, moral frameworks. Men want to think of themselves as honest, reliable, dependable and fair-minded and it is perhaps those traits which agencies should emphasize when they wish to earn the trust and co-operation of male service users. Much previous research into masculinity has negatively focused on the problems men cause, often through the nefarious concept of “toxic masculinity”. This has never been more so than in this post-#MeToo landscape and after every mass shooting or domestic terrorist incident.

Lately, the dialogue has expanded to include the problems men have: such as the male suicide epidemic, depression, anxiety and addiction, while offering scant few solutions.

But Harry’s wanted to progress this dialogue forward, by flipping the telescope and focusing on what gives men a positive outlook. We wanted to find out which American men were the most positive and content, then look at the core values and behavioral attributes that nurture these men’s mental wellbeing. (the emphasis above is mine)

Consistent with Phelps’ predilections in Mass Flourishing, Harry’s Report seems to dictate a jobs-focused approach to addressing our economic problems. Creating new jobs and re-investing in old ones can often tap into a man’s natural motivations to make a positive contribution for himself and for those who are depending on him. This Report makes a powerful argument that every man in America who wants a job should have a job–because a man is a terrible thing to waste.

Consistent with its “accentuate the positive” view of masculinity, Harry’s launched a provocative new advertising campaign earlier this year. A female reviewer writing in GQ had this to say about it:

Selling men razors and shaving accessories often relies on the fact that it’s a rite of passage for men and a symbol of masculinity. That usually means beautiful women, severe cheekbones, and model-grade abdominal muscles [Schick and Gillette again]. Harry’s newly released “A Man Like You” ad doesn’t entirely stray from that tradition, but its statement about manhood feels refreshingly modern. The video follows a boy as he teaches a space alien what it means to be a man: how to walk, dress, and of course, shave. In the process, the kid—who’s got a mysteriously absent maybe-astronaut father—comes to the realization that, actually, “there’s no one way to be a man.” The fact that—spoiler alert for a commercial here—the boy appears to be imagining the alien out of grief or longing for dad adds up to a serious tear-jerker of an ending. Razor advertising has maybe never been softer or sweeter than this.

Harry’s ad is well worth a look because it presents an earnest if unexpected view of what men are growing up to be today.

Philosophers and social scientists talk about human nature, but easily as influential (and maybe even more so) are advertisers, playing with our emotions to make their points about who we are and what we’re like.

We already know about the dangerous side of marketers who are using the data collected from our social media exchanges (Facebook), shopping sprees (Amazon), and information searches (Google) to target us in increasingly precise ways. Harry’s ad is an instance where influencers are using our data to show us our best, or at least our better selves in the course of selling us their products.

Portraying a positive masculinity, their ad feels timely as well as necessary. It simply says: this story about men is real too and overdue for some attention.

This post is adapted from my December 2, 2018 newsletter.

Flourishing in Every Job

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Taking greater satisfaction from your work may be your goal, but it seems that it’s hardly the government’s or the economy’s goal. Not so long ago it felt differently, that those goals were all more aligned—and maybe they could be again–but only if we gain a better understanding of how that alignment came about in the first place and the choices we can make in the workplace and at the ballot box to support it again.

Economist Edmund Phelps provides a powerful argument for how the American worker’s wellbeing and capitalism’s productivity became intertwined in his 2013 book Mass Flourishing: How Grassroots Innovation Created Jobs, Challenge, and Change. His aim in writing it (I think) was to remind us that there used to be more of an alliance between how good we felt about ourselves when we were working and the benefits that our good work produced in the economy at large.

Phelps makes several proposals to restore that sense of equilibrium. But in a wide-ranging argument that relies on history, philosophy and quantitative analysis, his primary objective seems to be an ethical one:  to get us thinking about what is important about our work and how to advance those priorities in the choices we make about the quality of life we want to be working for.

When his book came out, Phelps (who teaches economics at Columbia) gave a lecture with the related title: “Mass Flourishing: How It Was Won, Then Largely Lost.” It summarized several of his book’s arguments in a highly accessible format.  Most of the quotations below come from that lecture. It is only a few pages long and well worth your time to read it in full.

Phelps’ thesis is that modern American capitalism created a culture of innovation, which refers to each worker’s entrepreneurial mindset as well as to the broader economic and social benefits that mindset produced. For the individual worker, this culture fostered:

a spirit that views the prospect of unanticipated consequences that may come with voyaging into the unknown as a valued part of experience and not a drawback.

In other words, at the same time that an innovation culture produces economic growth, it also gives rise to the experience of human flourishing as workers become more powerful and capable both as explorers and creators of the new world where they’ll be living.

According to Phelps, it was the Industrial Revolution (around 1800) that ushered in a period of individual and countrywide thriving that continued in America through at least the 1960’s. It was an explosion of individual and economic energy that would not have been possible without the Enlightenment values that took root, particularly in America, during an overlapping historical period.

The impetus for high dynamism, my book argues, was the modern values arising in Jacques Barzun’s Modern Era – roughly from 1490 to 1940 – particularly the values we associate with individualism and vitalism. They include thinking for oneself, working for oneself, competing with others, overcoming obstacles, experimenting and making a mark. The courage to express one’s self by creating or exploring the unknown and the gumption to stand apart from community, family and friends are also modern values. The thesis is that these values stirred a desire to flourish; they shaped a modern conception of the life to aim for – the good life. A prevalence of these values in a nation tends to generate an economy that offers work gratifying those desires – an economy that delivers flourishing.

How these values changed individual workers and the economy around them may be Phelps’ central insight. The standard argument has been that capitalism or “free enterprise” merely took advantage of discoveries and innovations that had been produced by science. Phelps argues that competition between workers in order to prosper contributed at least as much to individual and economic advancement—that capitalism creates innovation instead of merely feeding upon it. For him, it is the Enlightenment values that we brought to work for more than a century and a half that made “the good life” possible.

As quoted in a Thanksgiving article from a few days ago, this is the vitality and ambition that Alexis de Tocqueville witnessed when he traveled across America in the 1830’s, with its grassroots “religious, moral, commercial and industrial associations” standing in for the nobility and bureaucracy that limited European progress. It is what Lincoln was talking about when he observed that in America, “every man can make himself,” as illustrated in a speech he gave in 1859:

The prudent, penniless beginner in the world labors for wages awhile, saves a surplus with which to buy tools or land for himself; then labors on his own account another while, and at length hires another new beginner to help him. This… is free labor — the just and generous, and prosperous system, which opens the way for all — gives hope to all, and energy, and progress, and improvement of condition to all.

But then says Phelps, starting around 1970 and extending into the present day, the values of “free labor” have been constrained or overtaken by other values. In the wake of the New Deal of the 1930’s and even more so of the Great Society of the 1960’s, “traditional” social values have increasingly challenged what used to be our “vigorously individualistic” ones, including the current preference for  “solidarity, social protection and security.”  Among other things, these society changing priorities gave rise to “a vast canvas of entitlements… [and] to thickets of regulation” that impeded and sometimes overwhelmed the culture of innovation.

Instead of driving an economy that championed a good life from the ground up for individual workers, American policymakers began to manage the economy from the top down so that it would be what they conceived of as good for everyone. For Phelps, the satisfaction that came from realizing yourself through your talents at work along with the explosion of productivity that accompanied it in the economy—a century and a half of “mass flourishing”—was increasingly constrained by the parallel pursuit of other, well-meaning priorities. We tried to do two things at once, with a number of unintended consequences.

For one thing, the personal pride and psychic reward that were yours when you seized the opportunity “to make yourself” through your work were replaced by the promise of material wellbeing. Realizing your potential and learning new things about yourself while you overcame challenges in the rough and tumble working world were increasingly exchanged for the security of income and savings and for your leisure time away from work.  According to Phelps, this trade-off no longer serves the individual worker’s “non-material experience” at all, draining work of everything that had once made it so satisfying.

These [recent] formulations overlook the world of creation, exploration and personal growth. Gone is the conception of the good life as a wild ride through an economy with an open future, an economy offering challenges with unimagined rewards. In this climate, young people are not likely to grow up conceiving the good life as a life of Kierkegaardian mystery, Nietzschean challenge and Bergsonian becoming.

(I know, pretty philosophical for an economist.)

Unfortunately as a result, work today has not only become the 8 hours you have to “get through” on your way to a paycheck and a week of vacation, but it also accounts for the startling pull-back of national productivity over the past 50 years.  If we accept his thesis, “mass flourishing” has been replaced by widespread worker dissatisfaction, a decline in economic opportunity with few “haves” and many “have nots,” and an overall economy that seems to have run out of gas.

According to Phelps, the creative competition inherent in grassroots capitalism and the Enlightenment values that allowed it to thrive are essential to an innovation culture that brings prosperity at the same time that it makes work engaging. For him, Washington and the decision makers in other Western governments may believe that they can create more orderly and just societies by regulating, taxing and reducing economic growth, but by doing so they have nearly killed the golden goose.

When the values of the corporate state overtake the values of an innovation culture, the result is slower wage growth, reduced productivity in the economy, greater inequality among the nation’s stakeholders, less inclusiveness in promises like “the American Dream,” a sharp reduction in individual job satisfaction, and workers who have lots of stuff at the end of the day but little sense of personal meaning in their lives. One of the great virtues of Mass Flourishing is that it backs its arguments with the kinds of statistics that you’d expect from a Nobel Prize-winning economist like Phelps.

Artist Saul Steinberg imagines today’s workers, out to recover what they’ve lost

What Phelps does not provide are any statistics that quantify the loss of individual, work-related “meaning” over the past 50 years. But to me at least, his conclusion seems bolstered by the findings of a Gallop Poll that was taken around the same time that Phelps’ book came out.  Its data proved the sorry state of worker engagement both here and elsewhere, as measured by an employee’s “psychological commitment” to his or her job as well as worker disengagement due to a “lack of motivation” and the disinclination “to invest discretionary effort in organizational goals or outcomes.”

Among North American workers, the Poll determined that 71% of the workforce was disengaged, while globally the level was an even more alarming 87%. Moreover, a substantial subset of checked-out workers was found to be “actively” disengaged. These individuals were not only “unhappy and unproductive,” but also “liable to spread [their] negativity to coworkers.” That all four corners of Phelps’ argument are evidence-based makes it particularly compelling food for thought.

As a result, his thesis challenges my sometimes belief (or is it arrogance?) that greater justice, equality, etc. can be achieved by enlightened government policies, even though experience tells me that there never seems to be a large or robust enough majority to produce real change. Does a tried-and-true system like Phelps “grassroots innovation,” with its mix of individual and system-wide incentives, have a better chance than well-meaning political agendas of producing “a good outcome” for both workers and the country’s economy?

Unfortunately, many of Phelps’ proposals for recovering what’s been lost seem impossible in today’s America. One of them still appeals to me however. It would mandate that members of Congress be people who have done more with their lives than practice law or connive in politics. Phelps’ proposes that all of our legislators be workers who have experienced competition first hand and, therefore, have been forced to innovate on the job. They would bring what they know about flourishing at work to Washington before returning, after term limits, to their highly productive lives.

Today, at the end of 2018, there is still grassroots innovation in America, and not just in the garages of Silicon Valley. When your work goals are in line with Enlightenment values like thinking for yourself, enjoying competition and overcoming obstacles, while experimenting, creating and exploring the unknown, you’ll find the opportunities for innovation at work. But these days, you may need to make a more deliberate effort to find them.

This post is adapted from my November 25, 2018 newsletter. Subscribe today.

Building Confidence in the Future

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Saginaw County Fair – 2014

The future was on my mind a lot this week, probably because several stories were arguing for its importance and vulnerability.

Some of it was the mid-term election, which the press kept reminding us was about choosing our political future, as if we’d be able to get it right or wrong in one fell swoop. Now with the hype behind us, it looks like all we’ve done is kick the can down the road.

Then there was the centenary of “the Great War,” and all the future-talk back then. “Making the world safe for democracy” was what Woodrow Wilson promised as he navigated us from continental isolation to European battlefield that first time, going back again 20 years later, and on to Korea, Vietnam, and Iraq. It’s what keeps us in the tribal mess of Afghanistan today–maybe safer, but not quite safe.

What am I voting for, fighting for, working for if not for what I hope? Is it to be safer tomorrow? To make one thing better? To change even more about the world than that? So far this week, 2018 seemed an ill-suited time to build much confidence in the future.

But then came the future as apocalypse. A place that its Gold Rush settlers had called “Paradise” was incinerated, burning many of those who were living there today beyond recognition. The future for the survivors who remained was also stripped bare: of homes, belongings, neighbors, pets, of familiarity and routine.

Still, a less blackened way to think about the future came from what happened next. It was not a government rescue or a swell of self-reliance, because most of the survivors live on fixed or limited incomes, with little fat to fall back on. Instead it was how quickly people in nearby towns moved beyond “the transmission of thoughts and prayers” to an outpouring of generosity.

In another irony for Paradise, just when their hopes for the future seemed obliterated a new community gathered around those who remained–even as more wild fires continued to bloom in the east. This short video clip captures some of the outpouring this week, dressed (either improbably or not) as a Sexy Panda food truck.

Regular people recognized themselves in their neighbors’ tragedy and spontaneously gathered to start building their future together, not by offering  “pies in the sky” from afar but in a Walmart parking lot where displaced families had fled and are still living out of their cars. FEMA, the National Guard, and “the local authorities” may think they know better, but a future that’s worth having is usually created when one capable person cares for another.

As Rebecca Solnit writes in Hope in the Dark: Untold Histories, Wild Possibilities:

much societal effort goes into withering us away from [our] fullest, most powerful selves. But people return to those selves, those ways of self-organizing, as if by instinct when the situation demands it.  Thus disaster is a lot like a revolution when it comes to disruption and improvisation, to new roles and an unnerving or exhilarating sense that now anything is possible.

As if by instinct, some of that improvisational euphoria was visible in Walmart’s parking lot this week. The helpers felt empowered by their involvement while the survivors found the ability to tap into their own reserves of autonomy and generosity, telling me and everyone else who was listening that “We will make it.”

Over the summer, National Public Radio launched an occasional series where it asked listeners to identify songs that were “the most uplifting in their experience.” This week, NPR profiled one of them, Simon & Garfunkel’s “American Anthem,” and recorded listener reactions while the song played in the background. When I caught the Morning Edition segment over coffee, I was overtaken by the wistfulness in its college-boy lyrics and ethereal delivery and by how others still felt it too.

Cathy, I said as we boarded a Greyhound in Pittsburgh
Michigan seems like a dream to me now
It took me four days to hitchhike from Saginaw
I’ve gone to look for America…

Cathy, I’m lost, I said though I knew she was sleeping
And I’m empty and aching and I don’t know why
Counting the cars on the New Jersey Turnpike.
They’ve all come to look for America

All come to look for America

For me, the song transports because you can feel the movement of the bus in its rhythms and catch glimpses of the country not as a whole but in its particulars: Pittsburg, Saginaw, the New Jersey Turnpike.

As a people, we are also more interested in where we’re headed than in where we’ve been. So I wasn’t surprised when one listener said: “For me, getting to know America is more about the questions that we ask than the sort of sureness that we might reach in our own experience,” or that another added: “I think all of us are still searching for America and hoping to find it and define it and give it meaning. And we all do that in our own way.”  In this gem of a song, “looking for America” is looking for the future and wanting (so very, very hard) to believe in what we will find.

In Earning the Rockies: How Geography Shapes America’s Role in the World, Robert Kaplan was also “looking for America” when he set out on his road trip across the country a couple of years ago. He tells us he found it near the border between Nebraska and South Dakota when he visited Mt. Rushmore.  This is what he saw there:

Washington, Jefferson, Lincoln and Theodore Roosevelt: the four greatest presidents at the time of the 150thanniversary of American independence in 1926, when [Gutzon] Borglum [the sculptor] began his work here. The granite insures that the work will stand undiminished for at least a thousand years. After I have driven across the continent into the wilderness, Mount Rushmore offers me revelations in person that all the photographs of it cannot. For Mount Rushmore overwhelms precisely because of where it is located, not on the Capitol Mall but atop a mountain in the West, part of the original Louisiana Purchase, bearing the promise of the continent that was the upshot of pioneer optimism. An optimism that, in turn, was driven by democracy and the breaking down of European elite systems that these four presidents did so much to originate and secure. The culmination of the American story—one that Washington and Jefferson began—has more to do with the West than the East.

These carvings, despite their inhuman size, are strangely not oppressive or totemic. They do not intimidate or call to mind some tyrannical force. There is light and not darkness in the eyes of these presidents. Each is looking into the future, it seems…The result…is a myth of light that puts into some tragic perspective…the darkness rained [by white settlers and soldiers] on the native inhabitants and their way of life in these same hills. (the italics here are mine)

For Kaplan, it is in the tension and contradiction between America’s loftiest ideals and its worst inclinations that hope in the future lies. In another irony, he finds the confidence that can ultimately win out in a popular gathering place a few miles away.

[I]n the adjacent tourist trap of Keystone, South Dakota, many of the waiters and waitresses are from places as diverse as Ukraine, India, Nepal and so on. They are trying to make it and stay in America—yes, still the land of opportunity. Whereas at the [Mount Rushmore] viewing terrace there was whispering and outright silence, here the tourists—who include immigrants from Asia and Latin America—are all chattering away, exchanging notes and competing with one another to tell just how far and through how many states they traveled in order to get here. The license plates in the parking lots are from every part of the country. Keystone, snaking and ramshackle, is like a vast hostelry at an ancient pilgrimage site. The great and nearby monument has shown them what they all have in common.

I see the arc of my journey here. It has purpose. There is nothing eccentric about driving slowly for weeks on end, from one side of the continent to the other. Keystone reveals to me exactly what I am doing, since what I am looking for actually exists.

At a time when we are criticizing many of our monuments, this may seem a odd moment for Kaplan to celebrate one of them. But at their best, a country’s monuments can be symbols not of oppression or hypocrisy but of aspiration. They can say: despite its contradictions, America is still trying to grapple with its complicated legacy and to discover a hope-filled future where the frontier still stretches out in front of it.

The Walmart parking lot near Paradise, California this week.

Like the new and recent Americans who were celebrating their commonality in Keystone South Dakota, there are always opportunities to ground our hopes.

Without the talking heads in the media, the “thought leaders” in universities and think tanks, or (really) any of the elites awakening us to what seems “right” or “necessary” to them, we can declare our hopes by driving to wherever someone whose humanity we recognize needs us right now.

As John Berger, one of my heroes, has said: “hope is not a guarantee for tomorrow but a detonator of energy for action today.” It is a way to escape the daily distractions that anesthetize us, to battle our cynicism or despair, and to claim the practical, close-to-the-ground confidence in the future that drives all good work.

This post was adapted from my November 18, 2018 newsletter.

How Stepping Back and Really Noticing Can Change Everything

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Pieter Bruegel’s The Battle Between Carnival and Lent

I’m frequently reminded about how oblivious I am, but I had a particularly strong reminder recently. I was in a room with around 30 other people watching a documentary that we’d be discussing when it was over. Because we’d all have a chance to share our strongest impressions and it was a group I cared about, I paid particularly close attention. I even jotted down notes from time to time as something hit me. After the highly emotional end, I led off with my four strongest reactions and then listened for the next half hour while the others described what excited or troubled them. Most startling was how many of their observations I’d missed altogether.

Some of the differences were understandable, why single “eye witness accounts” are often unreliable and we want at least 8 or 12 people on a jury to be sharing their observations during deliberations. No one catches everything, even when you’re watching closely and trying to be insightful later on. Still, I thought I was better at this.

Missing key details and reaching the wrong (or woefully incomplete) conclusions affects much of our work and many of our relationships outside of it. Emotion blinds us. Fear inhibits us from looking long and hard enough. Bias makes us see what we want to see instead of what’s truly there. To get better at noticing involves acknowledging each of these tendencies and making the effort to override them. In other words, it involves putting as little interference as possible between us and what’s staring us in the face.

As luck would have it, a couple of interactive challenges involving our perceptive abilities crossed my transom this week. Given how much I missed in the documentary, I decided to play with both of them to see if looking without prior agendas or other distractions actually improved my ability to notice what’s in front of me. It was also a nice way to take a break from our 24-7 free-for-all in politics. As I sat down to write to you, I thought you might enjoy a brief escape into “how much you’re noticing” too.

The Pieter Bruegel painting above–called “The Battle Between Carnival and Lent”–is currently part of the largest-ever exhibition of the artist’s work at Vienna’s Kunsthistoriches Museum. Bruegel is a giant among Northern Renaissance painters but most of his canvases are in Europe so too few of us have actually seen one, and when we have, they’ve been in books where it’s all but impossible to see what’s actually going on in them. As it turns out, we’ve been missing quite a lot.

Conveniently, the current survey of the artist’s work includes a website that’s devoted to “taking a closer look,” including how Bruegel viewed one of the great moral divides of his time:  between the anything goes spirit of Carnival (the traditional festival for ending the winter and welcoming the spring) and the tie-everything-down season of Lent (the interval of Christian fasting and penance before Good Friday and Easter). “The Battle Between Carnival and Lent” is a feast for noticing, and we’ll savor some of the highlights on its menu below.

First though, before this week I’d never heard about people who are known as “super recognizers.” They’re a very small group of men and women who can see a face (or the photo of one) and, even years later, pick that face out of a crowd with startling speed and accuracy. It’s not extraordinary memory but an entirely different way of reading and later recognizing a stranger’s face.

I heard one of these super recognizers being interviewed this week about his time tracking down suspects and missing persons for Scotland Yard. His pride at bringing a remarkable skill to a valuable use was palpable–the pure joy of finding needles in a succession of haystacks. His interviewer also talked about a link to an on-line exercise for listeners to discover whether they too might be super recognizers. In other words, you can find out how good you are “with faces” and how well you stack up with your peers at recognizing them later on by testing your noticing skills here.  Please let me know whether I’ve helped you to find a new and, from all indications, highly rewarding career. (The test’s administrators will be following up with you if you make the grade.)

Now back to Bruegel.

You can locate this central scene in “The Battle Between Carnival and Lent” in the lower middle range of the painting. Zooming in on it also reveals Bruegel’s greatest innovation as a painter. He gives us a birds-eye view of the full pageant of life that embraces his theme. It’s not the entire picture of “what it was like” in a Flemish town 500 years ago, but viewers had never before been able to get this close to “that much of it” before.

It’s also a canvas populated by peasants and merchants as opposed to saints and nobles. They are alone or in small groups, engaged in their own distinct activities while seemingly ignoring everyone else. In the profusion of life, it’s as if we dropped into the center of any city during lunch hour to eavesdrop.

The painting’s details show a figure representing Carnival on the left. He’s fat, riding a beer barrel and wearing a meat pie as a headdress. Clearly a butcher—from the profession that enabled much of the festival’s feasting—he holds a long spit with a roasted pig as his weapon for the battle to come. Lent, on the other hand, is a grim and gaunt male figure dressed like a nun, sitting on a cart drawn by a monk and real nun. The wagon holds traditional Lenten foods like pretzels, waffles and mussels, and Lent’s weapon of choice is an oven paddle holding a couple of fish, an apparent allusion to the parable of Jesus multiplying the loaves and the fishes for a hungry crowd. On one level then, the fight is over what we should eat at this time of year.

As the eye wanders beyond the comic joust, Carnival’s vicinity includes a tavern filled with revelers, on-lookers watching a popular farce called “The Dirty Bride” (that’s surely worth a closer look!) and a procession of lepers led by a bagpiper. On the other hand, Lent’s immediate orbit shows townsfolk drawing water from the well, giving alms to the poor and going to church (their airs of generosity equally worthy of closer attention).

Not unlike our divided society today, Bruegel painted while the battle for souls during the Reformation was on-going, but instead of taking sides, this painting seems to take an equal opportunity to mock hypocrisy, greed and gluttony wherever he found it, making this and others of his paintings among the first images of social protest since Romans scrawled graffiti on public walls 1200 years before. While earlier paintings by other artists carefully disguised any humor, Bruegel wants you to laugh with him at this spectacle of human folly.

It’s been argued that Bruegel also brings a more serious purpose to his light heartedness, criticizing the common folk by personifying them as a married couple guided by a fool with a burning torch—an image that can be found in almost in the exact center of the painting. The way they are being led suggests that they follow their distractions and baser instincts instead of reason and good judgment. Reinforcing the message is a rutting pig immediately below them (you can find more of him later), symbolizing the destruction that oblivious distraction can leave in its wake.

Everywhere else Bruegel invites his viewers to draw their own conclusions. You can follow this link and notice for yourself the remarkable details of this painting along with others by the artist.  Navigate the way that you would on a Google Map, by clicking the magnifying glass (+) or (-) to zoom in and out, while dragging your cursor to move around the canvas. Be sure to let me know whether you happen upon any of the following during your exploration (the circle dance, the strangely-clad gamblers with their edible game board, the man emptying a bucket on the head of a drunk) and whether you think Carnival or Lent seems to have won the battle.

Before wishing you a good week, I have a final recommendation that brings what we notice (say in a work of art) back to what we notice or fail to notice about one another every day.

The movie Museum Hours is about the relationship that develops between an older man and woman shortly after they meet. Johann used to be a road manager for a hard-rock band but now is a security guard at the same museum in Vienna that houses the Bruegel paintings. Anne has traveled from Canada to visit a cousin who’s been hospitalized and meets Johann as she traverses a strange city. During her visit, he becomes her interpreter, advocate for her cousin’s medical care, and eventually her tour guide.  But just as he finds “the spectacle of spectatorship” at the museum “endlessly interesting” as he takes it in everyday, they both find the observations that they make about one another in the city’s coffee shops and bistros surprising and comforting.

Museum Hours is a movie about the rich details that are often overlooked in our exchanges with one another and that a super observer like Bruegel brings to his examination of everyday life. One of the film’s many reveals takes place in a scene between a tour guide at the museum (who is full of her own insights) and a group of visitors with their unvarnished interpretations in front of  “The Battle Between Carnival and Lent” and other Bruegel paintings. You can view that film clip here, and ask yourself whether the guide is helping the visitors to see what is in front of them or diverting their attention away from it.

As we shuttle between two adults in deepening conversation and very different kinds of exchanges across Vienna, Museum Hours asks several questions, including what any of us hopes to gain from looking at famous paintings on the walls of a museum. As one of the movie’s reviewers wondered:

“Is it to look at fancy paintings and feel cultured, or is it to experience something more direct: to dare to unsheathe oneself of one’s expectations and inhibitions, and truly embrace what a work of art can offer? And then, how could one carry that open mindset to embrace all of life itself? With patient attention and quiet devotion, these are challenges that this film dares to tackle.”

That much open-mindedness is a heady prescription, and probably impossible to manage. But sometimes it’s good to be reminded about how much we’re missing, to remove at least some of our blinders, and to discover what we can still manage to notice when we try.

Note: this post was adapted from my October 14, 2018 Newsletter.

Good Work’s Foundations

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I saw rooms full of models of imagined buildings and cities at the Museum of Modern Art in New York this week. The artist was Bodys Isek Kingelez from central Africa. Pictured above is one of his futuristic building models. They reflect “dreams for his country,” known during his life as the Belgian Congo and later as Zaire. Kingelez said he was envisioning “a more harmonious society” than he saw around him.

Artists are sometimes better at envisioning than the rest of us. It can be even harder for us to bring a better future into our day-to-day work—but when we do, our hopes pull us forward, particularly as we struggle to realize them.

Acting on what we hope for is one of good work’s foundations. So are acting out of our aim for both generosity and autonomy on the job. I’ve been thinking about demonstrations of generosity, autonomy and acting on hope this week from teacher/writer Roxanne Gay, actor/rap artist/omnivore Riz Ahmed, and activist/public intellectual Rebecca Solnit, respectively—3 powerful voices with a lot to say about how we spend our time and talent every day.

Generous Judgment

Generosity is about acknowledging the autonomy or self-determination of others (like co-workers, clients/customers, suppliers, members of your business and non-profit communities) in the course of your work.

You probably know comic Louis C.K. Highly acclaimed, his semi-autobiographical cable TV show Louis and stand-up comedy specials have won 6 Emmy awards, a Peabody, and star-struck interviews at places like Fresh Air. To me, his comedy seemed deep, subtle, smart, and self-aware. Until late last year, when he was “outed” by several women who worked with him, it seemed that Louis C.K. could do no wrong. They accused him of pretty egregious conduct that reminded me of apocryphal stories I used to hear about neighborhood “flashers,” only this time much worse, because he was not the sicko stranger in a trench coat. Instead, several in his reluctant audience had tied their careers to his.

As the story came out (on the heels of Harvey Weinstein, Kevin Spacey, Charlie Rose and others), I was surprised by the “not enough” of his public reactions and the suggestions around them that he had previously tried to bully his accusers into silence. Well this week, less than a year after the revelations first surfaced, Louis C.K. returned to a thunderous reaction “on the come-back trail.” The crowd that felt lucky enough to be at a NYC comedy club for his unannounced performance was reportedly ecstatic.

Clearly, Louis C.K. didn’t know how to handle the “world of hurt” around his abusive conduct when it first came out and was similarly clueless when he concluded “that all had been forgotten” and “it is time for everybody to just move on.”  In a New York minute, Roxanne Gay told him otherwise.

It might have been easier for Louis if his comeuppance hadn’t been in the New York Times. But she didn’t just excoriate him. She met him like she acknowledged his intelligence, his talent, his fans who might still learn from what she was about to say. Instead of writing him off as a perverted loser, Gay told him what he (along with others who don’t know but need to hear) what should be done by adults who behave this way. It was a gift he may not have deserved, but it was a judgment that was elevated by the light that she brought to it.

“If Louis C.K. doesn’t know what to do when he’s caused this kind of damage, then I’ll try to explain it,” she seems to say—so he can make it right this time, and others like him can learn what they need to do too. Anger followed by patience in that New York minute was an act of generosity. Indeed, it’s a balance that elevates nearly everything that Roxanne Gay does.

While you should read her entire commentary, this is Gay on Louis C.K.’s “comeback road”:

How long should a man like Louis C.K. pay for what he did? At least as long as he worked to silence the women he assaulted and at least as long as he allowed them to doubt themselves and suffer in the wake of his predation and at least as long as the comedy world protected him even though there were very loud whispers about his behavior for decades.

He should pay until he demonstrates some measure of understanding of what he has done wrong and the extent of the harm he has caused. He should attempt to financially compensate his victims for all the work they did not get to do because of his efforts to silence them. He should facilitate their getting the professional opportunities they should have been able to take advantage of all these years. He should finance their mental health care as long as they may need it. He should donate to nonprofit organizations that work with sexual harassment and assault victims. He should publicly admit what he did and why it was wrong without excuses and legalese and deflection. Every perpetrator of sexual harassment and violence should follow suit.

Moral condemnation is easy but describing the “road someone needs to take back” requires a comprehension of the pain that was caused, the actions that would be necessary to alleviate it, as well as the belief that he could act on your advice. Most judgments fail to include these components, but Gay’s has all of them.

The Christian lesson of the crucifixion is infinitely more powerful because it is followed by the resurrection. We’re expert at crucifying people today—at work, and otherwise—but too often seem to be unconcerned about their ability (and ours) to rise afterwards. It’s not about forgiveness but the hard-won path to change.

The last time I wrote about Roxanne Gay on this page was in January.

Creative Autonomy

Autonomy is actively making the most out of what you have, identifying what is important to you, and putting yourself on the line to achieve it. Autonomy is self-determination.

In the limited series The Night Of  (on HBO), Riz Ahmed played two roles:  the role of a Pakistani student wrongly imprisoned at Riker’s Island for murder and a role beneath his acting that involved you as a viewer in a separate dialogue. You could feel Ahmed’s intelligence, focus and humanity whispering through his role—his interior life giving the 6 episodes counterpoints beyond the writing, directing and acting. (“Whatever he was saying and doing, he was always simultaneously maintaining a second conversation with you about what both of you might be thinking.”)

A profile with that line and additional suggestions about Ahmed’s perspective was this week’s cover story in the New York Times Magazine. You can sense what’s unique about him from the first impressions that Ahmed made on his profiler about his jobs as an actor and musician, pathfinder, role-model and activist.

It’s not that he doesn’t get animated. He does. Talking with Ahmed can be a little like sparring, a little like co-writing a constitution, a little like saving the world in an 11th-hour meeting. He interrupts, then apologizes for interrupting, then interrupts again. He can deliver entirely publishable essays off the top of his head. He pounds the table when talking about global injustices, goes back to edit his sentences minutes after they were spoken, challenges the premises of your sentences before you’re halfway through speaking. This is what happens when you cut your teeth on both prep-school debate teams and late-night freestyle rap battles, as Ahmed has. He is like someone who wants to speak truth to power but now is power — famous enough, at least, to have people listen to his ideas. He is like someone very smart who also cares a lot. He is like someone who doesn’t want to be misunderstood.

Not surprisingly, much of Ahmed’s edge comes from being a Pakistani-Brit, rising from one competitive lower school to another. Along the way, he felt his separateness as a South Asian but always “believed that the flag of Britain should and would obviously include him.” That is, until Al Qaeda’s attack on Twin Towers, which happened the month he matriculated to university and made it even more burdensome to be a Muslim. It was there that he made a critical life choice.

[H]e found himself at Oxford University, just after 9/11 — a brown kid surrounded by the acolytes of seemingly ancient white wealth, who sometimes did have a way of talking to him as if he were a shopkeeper. Rather than retreating into Oxford, he decided to make Oxford come to him. He started organizing parties that celebrated his music and cultural touchstones, parties where he would get on the mic over drum ’n’ bass records. Soon enough, the event he co-founded, “Hit and Run,” moved to Manchester and became one of the city’s leading underground music events.

What could have been angry rejection and a retreat to the company of other South Asian Muslims instead became his invitation for Oxford to join a broader conversation that he was sponsoring. It was a place where he mashed up Pakistani melodies and rhythms with British rap (just as rap was rising to become the most popular music in the world.) As Lena Dunham observed about him, he combined the bravado of someone in the hip-hop world with the intensity of someone who’s mounted a barricade.

Creating this platform was a singular act of personal autonomy (as well as generosity towards others) that has informed Riz Ahmed’s work ever since. He wants to initiate a conversation that’s big enough for him and for everyone else. It’s a theme that shines through every corner of his remarkable story. I hope that you’ll enjoy digging into more of it.

Living Your Vision

Envisioning is living the future that you hope for through your work.

I read Rebecca Solnit’s “Hope in the Dark” traveling to and from New York City. In a nutshell, it’s about living what’s important to you, even though there is no assurance or even likelihood that the better world you’re working for will get any closer as a result. As her title says, it’s hope in the dark.

Americans in particular tend to want more certainty than that. We’re not accustomed to a continuous struggle for a better world or trying to “live our hopes”–particularly when they may never be realized–every day. Instead, we tend to respond to a crisis/problem/challenge, declare victory or defeat, and go home to wait for the next one to demand our attention. Our responses are generally to emergencies that interrupt the normal flow of our lives. We don’t tend to see struggling for what’s important to us as a daily commitment.

Solnit argues that treating struggles for justice, fairness, freedom, for greater opportunity, self-determination or a healthier planet as isolated emergencies results in abandoning our victories while they’re still vulnerable and conceding our defeats too quickly. When we’re committed to achieving what’s truly important to us, Solnit argues: “It is always too soon to go home.”

She illustrates her point by recounting a story she wrote several years back about pay equity for women:

[A] cranky guy wrote in that women used to make sixty-two cents to the male dollar and now we made seventy-seven cents, so what were we complaining about? It doesn’t seem like it should be so complicated to acknowledge that seventy-seven cents is better than sixty-six cents and that seventy-seven cents isn’t good enough, but the politics we have is so pathetically bipolar that we only tell this story two ways: either seventy-seven cents is a victory, and victories are points where you shut up and stop fighting; or seventy-seven cents is ugly, so activism accomplishes nothing and what’s the pint of fighting? Both versions are defeatist because they are static. What’s missing from these two ways of telling is an ability to recognize a situation in which you are traveling and have not arrived, in which you have cause both to celebrate and to fight, in which the world is always being made and is never finished. (italics mine)

It is because the struggle is never easy and never done that Solnit quotes the poet John Keats, who called the world with all of its suffering “this vale of soul-making.” While “Hope in the Dark” is mainly Solnit’s call to continuous political activism, her arguments apply equally to declaring what’s important to you though the work that you do, that is, to any kind of acting on your convictions. To borrow the force of her argument, your jobs become  “toolboxes to change things,” places “to take up residence and live according to your beliefs,” and, as Keats would say, “vales” where your soul is made because it is where a sense of meaning, purpose and wholeness (as opposed to partial victories or defeats) can be found.

If you’re unfamiliar with Rebecca Solnit, “Hope in the Dark”‘s 100-odd pages would be a splendid introduction.  Her “A Paradise Built in Hell: The Extraordinary Communities That Arise In Disaster” such as 9/11 and Hurricane Katrina is a beautiful argument that we’re far more and far better than we often think that we are.

Note: This post was adapted from my September 2, 2018 newsletter

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