A Quote by Jeffrey Pfeffer
I completely reject the idea that working adults need to be treated like infants or worse and not told the realities, harsh or not, about the world of work. Keeping people in the dark and filling them with stories that are either mostly fabricated, unusually rare, or both, doesn't do anyone any good. It is one of the reasons that workplaces and careers remain in such dire straits.
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We can't constantly tell stories of heroes. We have to hear the other stories, too, about people in dire straits who make bad choices.
In its jolly mission to expose the dark underbelly of the children’s book world, Wild Things! turns up stories I’ve been hearing noised about for ages, but with a lot more detail and authenticity. The stories may not be quite as sordid as my own imagination had conjured up—although a few of them are—because there’s no denying that this field is full of mostly nice people!—but it’s all fun and a great read for anyone interested in both children’s books and the collection of people who make them.
Personal growth and professional development require mostly being treated like an adult, which is pretty much the opposite of what happens in most workplaces. People need to be able to make decisions. To do that effectively, they need information and training in how to use it.
Each of us is comprised of stories, stories not only about ourselves but stories about ancestors we never knew and people we've never met. We have stories we love to tell and stories we have never told anyone. The extent to which others know us is determined by the stories we choose to share. We extend a deep trust to someone when we say, "I'm going to tell you something I've never told anyone." Sharing stories creates trust because through stories we come to a recognition of how much we have in common.
I feel like the world is dominated by such a small group of human beings. There are so many different kinds of people that aren't represented, that don't have characters who look like them. And that's one of the reasons why I intend on being a director, because I want to actually tell some of these stories. I also think that we place such intense emphasis on award shows when they're not necessarily the best reflection of how good the work is. We need to realize that art and creation are so much bigger than an award or any measure of accomplishment.
I'm not a victim. And the people who are victims of something, my heart is completely with them. But I'm not. I know I've been treated like a woman in this business [acting]. I mean I've got lots of stories, but they don't have any control over me.
I canceled the Russian shows because, from the days of the first Dire Straits album, I've supported Amnesty International. It's not a good thing to read about people being jailed for no reason, so I raised my hand and made a small objection. It was good to do - but where do you stop?
Long fiction is wonderful and you can lose yourself in it as a reader and as a writer, but short stories don't allow the same kind of immersion. Often the best stories hold you back and make you witness them. This may be one of the reasons some people reject the form. That and the fact that they are harder work to read. A story will not let you get comfortable and settle in. It is like a stool that is so small that you must always be aware of sitting.
The world must be filled with unsuccessful musical careers like mine, and it's probably a good thing. We don't need a lot of bad musicians filling the air with unnecessary sounds. Some of the professionals are bad enough.
I don't know the reasons why something is intimidating to me or disgusting to me and I don't like feeling that way, either. I don't like it when something turns me off, on any level. So, its a matter of saying: Well, I can either sit here and reject, or I can do double-time embracing of something else just to reassure myself that I'm not against the world.
There are times, like with Dire Straits, where you can get as close as you can be to being good at your instrument and not cross over to that tasteless place.
I never think of my work as writing for a young audience, frankly, because I think it risks talking 'down' to them. The idea is for these books to work just as well as for adults as kids. As for what readers will take away, I just want them to love being in the world and see it as a safe place to explore things that adults are often uncomfortable talking to them about.
The world is littered with the tales of small businesses in the dire straits of hiring that spent time and money they couldn't afford to hire people who couldn't perform.
If you marry the wrong person for the wrong reasons, then no matter how hard you work, it's never going to work, because then you have to completely change yourself, completely change them, completely - by that time, you're both dead.
There seems to be something poetically that doesn't work or is limiting when you call God 'God' in a poem. When I tried to be honest with myself in my relationship with God, Christ is, on the one hand, completely dark, he's transcendent and unknown. On the other hand, he is completely imminent and completely knowable as Jesus. Our tradition speaks of him in both ways as transcendent but also as a lover who comes to us, and the two word 'Dark One' seem to me to contain both things, the transcendence and otherness of Christ, but also like a kind of dark lover who comes to us.
There's a hunger for stories in all of us, adults too. We need stories so much that we're even willing to read bad books to get them, if the good books won't supply them.
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