Category Archives: work

All In

“I worked at Office Depot during the day and I was in the studio really late at night sometimes. Work was getting in the way of my focusing on what I needed to do as an artist. When they fired me, I had no excuse. I had to go all in on my career.”

Janelle Monáe

Spurn Set Routes

“I don’t like people who have their itineraries and ideas so clearly sorted out that they say, ‘Today I’ll make three visits, I’ll write four letters, and I’ll finish that book I started.’ My soul is so open to every kind of idea, taste and sentiment; it so avidly receives everything that presents itself!… And why would it turn down the pleasures that are scattered along life’s difficult path? They are so few and far between, so thin on the ground, that you’d need to be mad not to stop, and even turn away from your path, and pick up all of those that lie within reach. There’s no more attractive pleasure, in my view, than following one’s ideas wherever they lead, as the hunter pursues his game, without even trying to keep to any set route.”

—Xavier de Maistre, A Journey Around My Room (1794)

(Via Michael Leddy)

The Creative Process Illustrated

Damien Newman’s Design Squiggle:

More.

(Via.)

On Academic Bios

Be proud of doing it your own way

Branko Milanovic reads the bios of “several contemporary economists” and is struck by their “bareness”: “The lives sounded like CVs. Actually, there was hardly any difference between their CVs and their lives (to the extent that I could tell).”

He continues:

The lives (i.e. CVs) typically went like this. He/she graduated from a very prestigious university as the best in their class; had many offers from equally prestigious universities; became an assistant professor at X, tenured at Y; wrote a seminal paper on Z when he/she was W. Served on one or two government panels. Moved to another prestigious university. Wrote another seminal paper. Then wrote a book. And then…this went on and on. You could create a single template, and just input the name of the author, and the titles of the papers, and perhaps only slight differences in age for each of them.

Surely there are some generic conventions at play here — indeed, Milanovic could be describing his own academic bio in the paragraph above — but is the boringness of so many academic bios indicative of some special paucity of life among the contemporary professoriate?

If so, Milanovic wonders about the implications:

[H]ow can people who had lived such boring lives, mostly in one or two countries, with the knowledge of at most two languages, having read only the literature in one language, having travelled only from one campus to another, and perhaps from one hiking resort to another, have meaningful things to say about social sciences with all their fights, corruption, struggles, wars, betrayals and cheating. Had they been physicists or chemists, it would not matter. You do not have to lead an interesting life in order to understand how atoms move, but perhaps you do need it to understand what moves humans (cf. Vico).

I think Milanovic has point, but again, part of this is genre. Academic bios elide all kinds of interesting stuff. That’s what makes them academic bios. Remember, too, that Milanovic is talking about economists. Yet I also wonder if the template he skewers has a normative function. There is a danger, it seems to me, of trying to live a life that might lead to one of these conventional bios, rather than a life that flows from other concerns. If you’ve ever warily asked yourself, “How would X look on my CV?,” where X is something that’s maybe just slightly unusual, and which is a question academics (particularly junior academics) are encouraged to ask themselves, you’ve submitted to the subtle tyranny of the boring academic bio.

I imagine such self-disciplining happens in other professions, too.

One school of thought says, as per Flaubert, “Be regular and orderly in your life like a bourgeois, so that you may be violent and original in your work.” But another school of thought — the school I increasingly find myself admiring, if not fully a part of — wonders if something about Flaubert’s formula doesn’t add up, or is at least a kind of privilege. “Orderly and boring lives are a privilege of rich and orderly societies,” asserts Milanovic.

Recents events have exposed the fact — if it was ever really hidden — that maybe we aren’t living in as rich or as orderly a society as we might have once liked to think we were. Paths that once seemed straight have become more obviously crooked. If the perfectly neat and tidy academic bio was always a sort of humblebrag by those who made it to the top, the résuméic equivalent of a millionaire wearing jeans, now it seems fanciful in its lifelessness.

Let us turn instead to unconventional, unacademic bios and advice for inspiration, as I have long found myself doing.

For example…

Sinclair Lewis argues that aspiring writers should “become a doctor or a grocer, a mail-flying aviator or a carpenter, a farmer or a bacteriologist, a priest or a Communist agitator” in addition to seeking to become a writer. Decades later, Werner Herzog would proffer advice to aspiring filmmakers, encouraging them to “work as a bouncer in a sex-club, a warden in a lunatic asylum or in a slaughterhouse. Walk on foot, learn languages, learn a craft or trade that has nothing to do with cinema.” This, needless to say, isn’t the advice given to aspiring academics. If, for example, you’re an academic who dabbles as a dominatrix, you might be blackballed.

Writer Charles Bukowski famously worked a number of odd jobs while cranking out poems and stories. Composer Philip Glass worked as a taxi driver, plumber, gallery assistant, and furniture mover until he was 41. Before becoming a bestselling author, Louis L’Amour was “a longshoreman, a lumberjack, an elephant handler, a fruit picker and an officer on a tank destroyer in World War II. He had also circled the world on a freighter, sailed a dhow on the Red Sea, been shipwrecked in the West Indies and been stranded in the Mojave Desert, and had won 51 of 59 fights as a professional boxer.” Compare these biographical sketches, which I draw energy from, to the one Milanovic puts forward above, which puts me to sleep.

Similarly, before he was an actor, James Garner worked as “telephone installer, oilfield roughneck, chauffeur, dishwasher, janitor, lifeguard, grocery clerk, salesman and, fatefully, gas station attendant.” Kris Kristofferson was a “Rhodes scholar, a U.S. Army Airborne Ranger, a boxer, [and] a professional helicopter pilot” before becoming a songwriter and actor. Viggo Mortensen’s “previous careers included driving a truck, delivering flowers, and loading ships in Denmark. For years he lived from gig to gig, check to check, mostly broke. It probably didn’t help that, on a whim, he left L. A. and moved to Idaho. He supported his acting career for years by bartending and waiting tables.” These were jobs these guys did before they made it big, yes, but they weren’t merely that; they were constitutive of who they were/are later as people and artists.

Even if an academic once worked as, say, a bartender, and I imagine a lot of academics have done some bartending, it’s not something you expect to see listed in their bio, which is a shame. Something like bartending, as Neil Postman and Charles Weingartner write in Teaching as a Subversive Activity (1969), “can be taken as evidence … that the teacher has been in contact with reality at some point in his life.” “One of the common sources of difficulty with teachers,” they continue, “can be found in the fact that most of them simply move from one side of the desk (as students) to the other side (as ‘teachers’) and they have not had much contact with the ways things are outside of school rooms.” Putting aside the eternal debate over whether the classroom is part of the “real world,” I’ll simply say this: rather than omit bartending stints from their bios, academics should be encouraged to include them.

The above are all examples taken from this blog, and admittedly white and masculinist ones at that. But there are many more such cases. And there has never been a better time to draw inspiration from them, whatever your career. Don’t worry if your story is messy, I say. Shun the boilerplate bio, and the conformity it hints at. Embrace the idiosyncratic and vibrant path you surely are already on, and let your bio be a testament to as much. In the end, those are the ones people like to read, not CVs.

Work First

“At Toni’s memorial service, Angela Davis was there, and we were talking about how Toni never thought anyone was guilty of a crime. Do you remember the Menendez brothers’ trial? Toni, who loved detective stories and trials and stuff like that, told me that the Menendez brothers were innocent. One of them had gone to Princeton for, like, five minutes, during which time Toni had met him. And Toni was a much nicer person than me. My meeting someone does not necessarily make me like them, but to Toni it does. The Menendez trial was one of the first televised trials, and Toni and I watched every single day on the telephone together. And the trial started at noon, because it was in L.A. I was supposed to be writing, of course, and I thought, I’m spending the whole day on the phone watching television, but it must be O.K., because so is Toni. And then I found out that Toni got up at five in the morning, and by twelve she had already done a full day’s work.”

Fran Lebowitz

Let the Half-Wit Out for a Walk

“Baseball is for watching. From April to October I watch the Red Sox every night. (Other sports fill the darker months.) I do not write; I do not work at all. After supper I become the American male — but I think I do something else. Try to forgive my comparisons, but before Yeats went to sleep every night he read an American Western. When Eliot was done with poetry and editing, he read a mystery book. Everyone who concentrates all day, in the evening needs to let the half-wit out for a walk. Sometimes it is Zane Grey, sometimes Agatha Christie, sometimes the Red Sox.”

—Donald Hall, Essays After Eighty

Creative Idleness

Brunello Cucinelli, billionaire sweater maker/philosopher, on the importance of creative idleness in the December 2017/January 2018 issue of Esquire.

Brunello Cucinelli

Fall In

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Photo by Chris Lawton on Unsplash.

I’m writing this on the first day of fall in the Northern Hemisphere.

Depending upon where you are, it might not feel like fall yet. Right now, for instance, it’s 92°F outside where I live. And humid. More summer than fall. Yet, at the same time, school’s back in session, football is being played, and Halloween paraphernalia is appearing in stores.

The leaves on one of the trees outside my window are starting to change color. Some leaves have even started to fall. It’s getting darker earlier and lighter later. And even though it’s still hot out during the day, it’s cooling down more at night.

Change is in the air.

This leads to a question: Should one also change in conjunction with the seasons? By this I mean more than donning a natty scarf when the temperature drops below a certain level—I mean changing things about the way you eat, sleep, live, and work.

Conventional productivity advice doesn’t really take up this question. One of the things, in fact, that irks me about such advice is that it tends to frame things in terms of daily routines, routines that are ostensibly the same regardless of the season. In other words, most productivity advice is seasonless. Here I’m thinking of things like Mason Currey’s engrossing 2013 book Daily Rituals and Tim Ferriss’s more tech bro-y late-2016 knockoff Tools for Titans.

Now, I’m as interested in famous people’s daily routines as anyone. But at the same time, I feel it’s important to resist the tyranny of “the day.”

What do I mean by that?

Well, we live in a world of seasons—and increasingly more variable and violent seasons at that—but productivity advice seems to always think in terms of the day, the week, the year, or five years, never the season, the sun, and the shadow.

In Lewis Mumford’s endlessly-rich 1937 book Technics and Civilization, he explains how the clock altered human relations by organizing everything around twenty-four little hours instead of, say, the rhythm of the seasons.

The consequences of this, Mumford argues, are profound:

When one thinks of the day as an abstract span of time, one does not go to bed with the chickens on a winter’s night: one invents wicks, chimneys, lamps, gaslights, electric lamps, so as to use all the hours belonging to the day. When one thinks of time, not as a sequence of experiences, but as a collection of hours, minutes, and seconds, the habits of adding time and saving time come into existence.

Because of the clock, Mumford continues, “Abstract time became the new medium of existence. Organic functions themselves were regulated by it: one ate, not upon feeling hungry, but when prompted by the clock: one slept, not when one was tired, but when the clock sanctioned it. A generalized time-consciousness accompanied the wider use of clocks: dissociating time from organic sequences….”

Since we all pretty much live according to “clock time” now, the autumnal equinox presents us with an opportunity to cast off our Apple Watches and reflect on some of the benefits of living according to what might be called “seasonal time.” To that end, I encourage you to step out of “clock time” and into “seasonal time.”

This will, no doubt, strike some as unappealing. Many people see nature as something to overcome or counteract, not as something to flow with or submit to. For others, it will be impossible. “Clock time” is simply imposed on them too strongly. But if you can do it, even just a little bit, I strongly recommend it, if only for the perspective it brings.

To quote Ecclesiastes 3:1, “To every thing there is a season.” What if we took that adage seriously, not just by buying pumpkin spice lattes but by doing key things in a more fall-like way? Fall-like might take different forms. The point is to embrace fall in particular and seasonal change in general. I’m definitely not recommending becoming “Mr. Autumn Man”. I’m talking about something else, something deeper.

One example I like is how novelist Lee Child sits down every September and begins work on a new Jack Reacher novel. He finishes up sometime the following spring and then spends the rest of the year doing other stuff—stuff like spending the entire month of August on vacation. (I don’t know about you, but that sounds pretty nice.) Note, too, that this routine produces a book a year. (As someone who writes much more slowly, this sounds pretty nice to me as well.) And Child has been doing things this way since the late 1990s. (For more on Child’s process, see Andy Martin’s Reacher Said Nothing: Lee Child and the Making of Make Me.)

Fall is a time to write for me as well, but it also means welcoming—rather than fighting against—the shorter days, the football games, the decorative gourds. Productivity writer Nicholas Bate’s seven fall basics are more sleep, more reading, more hiking, more reflection, more soup, more movies, and more night sky. I like those too. The winter will bring with it new things, new adjustments. Hygge not hay rides. Ditto the spring. Come summer, I’ll feel less stress about stopping work early to go to a barbecue or movie because I know, come autumn, I’ll be hunkering down. More and more, I try to live in harmony with the seasons, not the clock. The result has been I’m able to prioritize better.

And yes, fall for me also means some of the stereotypical stuff: apple picking, leafy walks, we’re even trying to go to a corn maze this year.

In sum, as the Earth wobbles around the Sun, don’t be afraid to switch things up. I can’t promise an uptick in productivity, but when you think of things in terms of seasons instead of a single day, the entire year becomes your canvas.

The Rock at Work

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(Via The Rock’s Instagram.)

Let’s

“Let us spend one day as deliberately as Nature, and not be thrown off the track by every nutshell and mosquito’s wing that falls on the rails. Let us rise early and fast, or break fast, gently and without perturbation; let company come and let company go, let the bells ring and the children cry — determined to make a day of it. Why should we knock under and go with the stream? Let us not be upset and overwhelmed in that terrible rapid and whirlpool called a dinner, situated in the meridian shallows. Weather this danger and you are safe, for the rest of the way is down hill. With unrelaxed nerves, with morning vigor, sail by it, looking another way, tied to the mast like Ulysses. If the engine whistles, let it whistle till it is hoarse for its pains. If the bell rings, why should we run? We will consider what kind of music they are like.”

—Henry David Thoreau, Walden (1854)