“Travel becomes a way of life and a comfort zone”
“Travel becomes a way of life and a comfort zone”
By Caitlin Kelly
There are only a few regions left in Ireland known as the Gaeltacht, where the Irish language dominates — without a bilingual map (which we have), you’re toast! Only 2.1 percent of the country’s population now speaks Irish, according to the 2006 census.
County Donegal, where we’ve rented a house for a week outside the town of Dungloe, is one of these areas.
How did we choose this most northwest, rural, tourist-free and wind-swept county for our vacation?
My great-grandfather was the schoolteacher in the seaside town here of Rathmullan, which my father and I visited a few years ago. So we re-visited the town, which has a huge, beautiful beach on Lough Swilly, and chatted with a local woman who hopes to buy the schoolhouse and use it as a holiday home for her visiting relatives.
I found the house we’re renting, (3 bedrooms, two bathrooms, two floors, flooded with light from huge windows and multiple skylights) on Google. Fingers were crossed!
We love it. Designed by the owner’s cousin, and only seven years old, the house is lovely. Absolute silence, great views, a deep bathtub right in front of a window with fab views — and no close neighbors.
The light here so far north is also relentless — it is fully light by 4:00 am, (our bed is right below an unscreened skylight!) and the sky is not fully dark until midnight or so.
Best of all? No wifi or phone access.
That’s a vacation.
If we want (as we do, sadly) to be in touch for blogging, email and Twitter, we have to get in our rental car, (a VW Golf, diesel, which we like a lot), and drive 5 minutes into town to a pub or restaurant and order some food or a Guinness.
But what a blessing to be torn away from the seductive tyranny of the computer.
One night we settled in at The Corner Pub to hear live music, a young woman who carried her accordion in a specially-designed backpack, and Martin, who played banjo. It’s not yet tourist season, so it was just us, a couple from Switzerland and the locals — like the newly-retired schoolteacher who cheered “Goodbye tension, hello pension!” — and covered her face with embarrassment when we toasted her.
The young woman asked us where we’re from (Tarrytown, NY, a small town 25 miles north of NYC.) “Oh, it’s lovely!” she said — she knows our area well, and will be playing two local venues near us in mid-July with her band, Cherish The Ladies. Then touring all the way to Minnesota with them; she plays piano. CTL is a very big deal, a 30-year-old band I’ve heard of for years, so this unlikely meeting was huge. (Her cousin owns that pub and her parents live locally.)
We’ve spent our time here making day trips. We went across the county to Rathmullan and enoyed a warm, sunny day.
We drove south to Slieve League, the highest cliffs in Europe — and watched a huge cloud coming towards us across the sea. Suddenly we were enveloped by mist, and everything disappeared. So mysterious! Only after we were settled in with a cup of tea and a scone, in a shop at the bottom of the cliffs, did the sun come out. We’d already done a vigorous 1.8 mile round-trip hike to the top of the cliffs (not the absolute top.) We were sweaty and pooped!
The cliffs were astounding, covered with sheep of all ages and sizes, so accustomed to tourists we got close enough to take lots of photos and listen to them grazing.
We went out another day by ferry, (15 minutes, 45 euros for 2 people and car), to Arranmore, a nearby island. There are 600 people living there and many well-kept houses. But we spent five hours there driving the few narrow roads, and discovered a totally different character to every side and angle around every curve of the road. Some hills were barren moonscapes with piles of cut peat drying in the sunshine. Some were lushly green, dotted with sheep. Some were granite-studded. I lay down in the sunshine on one with thick, spongy vegetation — a perfect natural mattress! — and napped.
Sunburned in Ireland? It’s possible.
Today, as I write this from Doherty’s, a Dungloe restaurant, it’s cool and rainy. A rest day. It’s tempting to rush out every day and see moremoremoremoremore. But we’re a little overwhelmed by the beauty we see here and want time to just rest, read and savor it before our final week back in Dublin.
By Caitlin Kelly
Are you (yet) a member of “The Precariat”?
It’s also known as The Gig Economy.
From the Alternet:
I caught up with Gerald Friedman, who teaches economics at the University of Massachusetts at Amherst and has written about the gig economy, to find out how this trend happened and what it means to workers and our increasingly unequal society.
Lynn Parramore: How did the shift away from full-time employment to the gig economy come about? What forces drove the change?
Gerald Friedman: Growing use of contingent workers (in “gigs”) came when capitalists sought to respond to gains by labor through the early 1970s, and in response to the victories capital won in the rise of the neoliberal era. Because contingent workers were usually not covered by union contracts or other legal safeguards, employers hired them to regain leverage over workers lost when unionized workers gained protection against unjust dismissal, and courts extended these protections to non-union workers under the “implicit contract” doctrine.
Similarly, the rising cost of benefits due to rising healthcare costs and government protection of retirement benefits (under the 1974 ERISA statute) raised the cost of full-time employment; employers sought to evade these costs by hiring more contingent workers…
GF: Talk of “microentrepreneurs” presents a favorable view of the rise of the gig economy, one consistent with liberal values of individualism and opportunity, even while ignoring the oppression and poverty-wages many find in the gig economy.
There are certainly some who enjoy the uncertainty of irregular employment. When unemployment rates fell to levels traditionally associated with full employment in the late-1990s, however, we saw how workers really feel about gig jobs: they rejected them and the contingent economy contracted.
Given a choice, workers choose careers and jobs, not freelance gigs.
…By removing any social protection, the gig economy returns us to the most oppressive type of cut-throat and hierarchical capitalism, a social order where the power to hire and fire has been restored to employers, giving them once again unfettered control over the workplace.
The American workforce is now one in which an estimated 40 percent of us work with zero safety net, beyond that which we create: (six months’ basic expenses saved, a separate emergency fund, a low-interest line of credit, disability and life insurance.)
Knowing how to
survive thrive without a steady paycheck is a crucial new skill.
My husband recently left a secure, well-paid job at The New York Times.
But, after 31 years there as a photographer and photo editor, having done almost everything one can do in a career, (including helping them win a team Pulitzer Prize for their 9/11 coverage), and offered a healthy buyout package — which gave us the requisite six months’ of expenses cushion of savings –– he decided to leave a month or so ago.
While he seeks another full-time staff job — which he may not find — he’s discovering how pleasant life can be without a 2-hour train commute, (costing $300 a month), fighting his way crosstown through aggressive crowds and having to book vacation in the first week of January due to seniority issues.
It can be a huge adjustment, no matter how desired, to move from the relative security of a salary that arrives on schedule and is predictable in size and due date to the roller coaster life of the self-employed.
Jose has seen me work freelance since 2005 and knows I know those ropes.
Now he’s learning them as well.
I liked this piece about moving to freelance work from The Guardian — and her realization that giving away your time without financial compensation, even barter, however friendly and helpful — is something no full-time freelancer can afford.
And five tips from Time magazine about readying yourself for that leap.
A few of the lessons I’m teaching him:
Don’t rush to say yes to every offer
Just because the client is prestigious and/or your bank balance is running low this month, don’t just leap at any offer you get. Is the client a good fit for your skills, experience, temperament? Have you done your due diligence on that client’s track record of payment and ethical behavior?
Don’t say no to what looks like a lousy offer; consider its every possible benefit
The hourly or day rate might be lower than ideal. It might be a low-prestige gig that pays well, or quickly, or both. The gig might introduce you to a new market and possibly expand your skill set, in effect paying you (even if not very well) to learn on the job.
Never agree to a gig without a clear, written agreement as to the scope of work
One major non-profit recently advertised for a photo editor freelance job, with a long list of responsibilities — with no clue how many hours a day or days a week or weeks per month they were offering. They just kept asking “What’s your day rate?” Nope. Avoid low-balling yourself before you know what they expect in return.
Never agree to a gig without a clear, written, signed agreement/contract
Things go south: your editor quits or gets fired; the budget is suddenly cut; your client hires a new assistant who hates everything you produce. You need protection. Spell out all your responsibilities, all their needs and the dates when you will be paid. It must be signed by both parties.
Everything is negotiable — including your decision to turn down a gig or leave one mid-stream
No one, ever, wants to walk away from a (well) paying client. Sometimes, though, it can be a wise choice to politely recuse yourself from a quicksand scenario where one client is sucking up all your time, energy and patience. Life is too short. (See: emergency fund.)
Negotiate! When someone offers you X fee, always ask for more. It’s been statistically proven that men almost always do, and often get it, while women just say “Thanks!” and get taken cheaply.
Your best sources of work are referrals from people who know, like and respect you and your work
It’s completely counter-intuitive that the fellow professionals with whom you’re now competing for freelance work can be, in fact, your best sources of good opportunities. In an office setting, you can face politics, nepotism, favoritism, seniority, sexism. For every ally and work-wife/husband, you might face a Game of Thrones-ish power struggle with someone.
Freelance life can offer plenty of stress, but if you have a strong, sturdy network of skilled, smart and ethical people who you help as often as possible! — you’ll never starve.
A ferocious work ethic — even if you wake up at noon and work in sweatpants — matters more than ever now
No missed deadlines! No slacking off!
You are selling your time, skills and experience. Never underestimate their value
Every freelance dollar you earn must now 100 percent fund your healthcare, retirement, sick days and paid vacations. You’re also on the hook for paying the full 15 percent of your income to fund Social Security, (employers usually pay 50 percent.) Boost your rates accordingly.
You must take breaks, both in your workday and your year
Without exercise, friends, face to face meetings and pleasure, you’ll quickly burn out. It’s isolating and lonely to work alone every day all day. It’s also tempting to work far too many hours instead of shutting off all electronics and access to email at a set hour so you can enjoy a full life, not just a new form of wage slavery.
Follow my friend Wendy’s three rules whenever possible as you choose (or refuse) a job:
Is it fun? Will I learn something new? Is it well-paid?
It should hit two of three.
Have you moved from a staff job to freelance life?
How’s it going?
What else would you advise a newbie to this way of working?
By Caitlin Kelly
Have you seen this interesting list of the seven habits of the mentally tough? From Inc. magazine, it includes no whining, acting as if you’re in control (even when you’re not) and refraining from the bad habit of freaking out endlessly over…everything.
It seemed quite a contrast from this post, from a blog about what it felt like for this writer when her agent wasn’t wild about her finished manuscript, from Women Writers, Women’s Books:
The sounds you just heard were my dreams and confidence being blown to bits.
Super Agent’s opinion – and she was right – was that I needed to do a major rewrite. The story concept was strong, but the story structure didn’t work at all. She said that she knew the audiences the editors who are interested in me are selling to, and the manuscript as I wrote it wouldn’t be a good fit. In publishing, not being “a good fit” is a death sentence.
You, shakily: But what about the betas, they liked it a lot. [My note: a “beta” is a “first reader”, someone you’ve asked to read your book before your agent and/or editor do.]
Super Agent, calmly: Betas know writing. Agents know the market.
I’m going to be honest with you. This was a very dark day. My lips and hands trembled. For weeks, my breathing would be shallow and intermittent…
It was a Thursday. By Monday, I had pulled myself together. This is not because I’m some kind of hero. I’m not. But what choice did I have? There are only two: leaving it wrong or making it right.* I love my story and my characters. I have big dreams for my career. Super Agent was right on every count. There was only one thing I could do. Write it again. I wrote her an email thanking her.
Then I dedicated myself to taking my magnum opus apart, scene by scene, word by word. It was excruciating, but that wasn’t the only problem. Firstly, I had no idea how to put it back together any better than before. Cue the panic. Secondly, my heart was still in pieces…
I found myself talking to a writer-friend who happens to be an award-winning, bestselling author..when I abruptly spilled to her what had happened and how I felt…
That is when I heard the words that put me back together. She said to me, “This is how it goes.”
I had a similar moment when I received the notes on my second book. “I really liked Chapters 11 and 12,” said my editor. Um…what about the first 10?
I felt the same panic, that I wouldn’t be able to make it good enough. Like the author above, I called a calm friend who said six fateful words: “You’re the mechanic. Fix the engine.”
So I did.
My husband began his career as a news photographer working for a small town newspaper. He had a mentor, a highly accomplished older professional with national experience to whom Jose would proudly mail copies of his published photos.
A manila envelope would return — filled with confetti. Jose’s work. (He went on to a 31-year career at The New York Times as a photographer and photo editor, and helped them win a team Pulitzer Prize for their coverage of 9/11. Here’s his blog.)
But what if he had given up?
Maybe journalism self-selects people who can withstand pretty harsh criticism, even if it’s painful.
It certainly comes with the territory — our editors, highly-competitive colleagues, determined competitors from other outlets and readers are all quite delighted to tell us when we’ve screwed up. Our ass-whipping is also relentlessly public, whether in comments on a blog or website, nasty Amazon reviews or letters to the editor.
And newsrooms are rarely warm, nurturing places where someone will hand you a tissue if, ego battered, you start crying. No crying!
One super-talented award-winning friend of mine in his mid-40s recently won a prestigious and well-paid year studying, thanks to a fellowship. It was his third attempt.
He did not give up.
I’ll probably re-apply for a similarly difficult-to-win fellowship this year, for the third or fourth time. It’s annoying to keep putting my hand up and never winning, but them’s the breaks.
As someone who’s competed at a national level as an athlete, I know what mental stamina it takes to just keep going in the face of frustration, exhaustion or disappointment.
So I really find it sad and surprising to see how fragile some young women are in the face of fairly standard forms of bullshit — sexism, chauvinism, rejection.
They freak out when people don’t admire their work or quickly promote them or don’t answer their emails quickly or don’t “like” their posts on social media.
Toughen up, buttercup!
I was sent off to boarding school at the age of eight, surrounded night and day by strangers, a place where comfort was elusive, at best. So maybe this is just a habit learned early.
I’ve been fired from jobs. I’ve been mercilessly bullied, in high school and in several workplaces. I’ve survived divorce, four orthopedic surgeries within a decade, criminal attack.
Both my books, both well-reviewed, were rejected by 25 publishers apiece before they finally found a home.
To some people, I appear mean and impermeable. I’m neither.
But I do know how to armor up.
It’s an essential skill for anyone who hopes to thrive professionally, and, often, personally. It’s essential to anyone doing creative work, whose income relies on the subjective opinion of others.
Here, from the brilliant blog Brain Pickings, is a post about Henri Rousseau, the French painter who worked as a toll collector, taught himself to paint and was nastily dismissed for decades. Without his persistence, we wouldn’t be able to enjoy his gorgeous, complex and mysterious paintings.
Are you mentally tough?
By Caitlin Kelly
My husband, Jose Lopez, has had a career few can match — eight years in the White House press corps, photographing Ronald Reagan, George H.W. Bush and Bill Clinton. He’s flown on Air Force One and been in the Oval Office.
He covered the end of the Bosnian war, sleeping in an unheated shipping container, unable to shower for six weeks, his Christmas “dinner” a packet of chicken soup.
He traveled to Rekjavik to cover a summit with Gorbachev.
For a decade, he also chose and mentored young photographers through The New York Times Student Journalism Institute, creating a new generation of talent — some of whom now work at the Times.
He covered two Olympics and five Superbowls and then worked for 15 years as a photo editor in sports, Foreign/National, real estate, business and — lastly — as photo editor of the NYT Now app, working with men and women half his age.
He leaves the newsroom today — 31 years after arriving from his first few newspaper jobs in Texas and Colorado, a cocky young guy with a thick head of hair.
It was a very difficult decision for him to leave — he loves his work and his colleagues — and one we did not make lightly; great journalism jobs within great organizations have become unicorns.
But this buyout offer was munificent, and he still has excellent skills and boatloads of energy he’s bringing to his job search.
It was an emotional afternoon and evening as staff and freelance photographers, editors and reporters lined up to hug him fiercely and to wish him well. I was so touched, although not at all surprised — having written freelance for the paper for decades and knowing many of these people as well — to see how well-loved and deeply respected he is.
There were staffers barely out of college and retirees who came back to the newsroom — and a nearby bar after work — to congratulate him.
Jose blends the unusual and terrific mix of tough-as-nails under pressure and diplomatic, gentle manners. (Very Timesian!)
More essential to a job search in 2015 — he combines the gravitas and deep wisdom of a career news photojournalist with the most up-to-date digital skills he used selecting images for the NYTNow app.
On to the next adventure!
By Caitlin Kelly
It’s difficult to walk down a block here — for me, anyway! — without snapping a photo, or several. Whether it’s a detail or a landscape or the low, slanting winter light, it’s all there…
More Paris images:
No table here is complete without a fresh baguette, chopped into pieces and served in a basket on the table. Butter is only offered at breakfast, often spread along a split baguette, called a tartine. Delicieux!
Even grocery shopping can be elegant! Everyone here wheels their grocery cart along the narrow sidewalks, even if they bought their food at a chain store. These carts come in every possible color and style. I loved the black patent one I saw on the Metro the other day. So much more fun than schlepping 12 bags of plastic by hand…
I never tire of the sense of design here and am irrationally folle de (crazy for) this look using broken tile. This is the bar area of 65 Ruisseau, a great place for (yes, really) a cheeseburger and a beer in Montmarte. And the frites. Sigh.
This is the street in the 7th arrondissement where we stayed the first two weeks, (moving to L’Isle St. Louis later this month.) These cream-colored curving buildings, with their elegant black ironwork, are typical of the more bourgeois neighborhoods. Each building has some lovely design element to delight the eye — a cherub, some inlaid mosaics, carved roses. There are 20 arrondissements, spiralling out from the center, in a snail shape, from the 1st. Like every city, each one has its own character, some with mini-neighborhoods within them as well. The 7th. is staid, elegant, very quiet, a mix of residential, monuments and government buildings. Few tourists, typically, head to the 13th, 14th or 15th, as they are almost exclusively residential and a bit of distance from most of the museums and other attractions.
King Francis 1, who reigned from 1515 to 1547, used the salamander as his personal symbol, perhaps why this golden salamander encircles a stanchion on the Seine…
Love these soft leather cafe chairs — small enough to be easy to move around but so comfortable and chic! Wish we could ship a few of them home.
There is a very large Ferris wheel standing at one side of the Place de la Concorde, 10 euros to ride. It’s a bit windy/freezing when you’re at the very top, (and a little scary!), but ohhhhhh the views. Here is the Garden of the Tuileries, and at the very far end, the Louvre. One one side is the Seine river, on the other, the rue de Rivoli. I took this on Christmas Day, one of the few days here with clear skies and lots of sunshine! You can’t see them, but the pond is circled by olive-green metal chairs in two styles, so you can sit and relax and watch the crowds.
If New York City mayor Bill de Blasio has his way, this sight will soon disappear from Manhattan — horse-drawn carriages. These colors — cream, beige, black and charcoal gray, are so typical of Paris, whether in exteriors, interiors or fashion.
By Caitlin Kelly
As some of you know, I was a nationally ranked saber fencer in my 30s, a sport I took up when I moved from Canada to New York. I’ve been athletic since childhood — competing in swimming, diving, sailing and other sports, and recreationally playing squash, softball, badminton and skiing, horseback riding, cycling and skating.
But working with a two-time Olympian as my coach forever changed the way I think, behave and react to stressful situations.
Having just finished a 15-week semester teaching college writing and blogging, it became clearer to me once more what useful lessons any creative person can learn from competitive/serious/elite athletes, like:
Pain is inevitable, suffering optional
We’re all facing challenges, whether finding clients, paying our bills, drumming up ideas, collecting late or missing payments, seeking inspiration. It’s easy to feel overwhelmed and depressed when it piles up, but much of this is — sadly — quite normal. Knowing that others are facing similar issues, and finding solutions to them, will give you a necessary sense of perspective. We all struggle! Some show it more than others. The most successful, though, are able to pick up and keep going.
Your competitors are fierce, determined and well-prepared — are you?
It’s naive and foolish to think your success is going to happen quickly and smoothly. If it does, cool! Champagne! For most creatives — whether you’re a fine artist, graphic artist, writer, photographer, film-maker — it’s a road filled with people every bit as determined to succeed as you are. Possibly much more so. Find the smartest and toughest mentors possible; take classes and workshops to sharpen your skills; attend conferences to see what everyone else is up to.
A great coach is essential
I would never have considered it possible to compete at a national level were it not for a tough coach who pushed hard and knew exactly what excellence looked like — and what it required to achieve. It’s hard to get up to speed if the only people you turn to for help and advice are all working at the same level as you, or below. Aim high!
Practice, practice, practice
I’m amused by people who say they want to write — but never do. Nor they read. That’s a toughie, really. Athletes spend hours watching footage of themselves and their competitors to analyze what’s working and what’s not. Then they get to work on their weaknesses. It won’t happen if all you do is wish and hope and read blogs about other people succeeding. You have to do it, too. A lot.
Your mind and body need to rest, recover and recharge
In a gogogogogogogo culture, where everyone is always tweeting and trumpeting their latest success — a grant, a fellowship, a new book, a big fat gig — it’s tempting to compare yourself unfavorably and feel you’re falling behind the pack. No matter how hard you practice, train and compete, you also need downtime to rest your mind and body. Take a hooky day. Sleep in. Play with your kids/dog/cat. Take in a matinee or a museum show. Pleasure refreshes our spirits. Rest recharges our minds and bodies.
Stamina is key!
It’s tiring to stay in the game, week after week, month after month, year after year. It’s also difficult to stay if and when you’re weary, fed up, hurting from rejections. Stamina — which includes mental toughness — is often what separates champions from also-rans.
What are your competitors doing better — and how can you do so, too?
No matter your creative field, you need to stay abreast of developments. What new skills do you need to be acquiring? Do you need to find a new teacher?
Someone is always going to lose. Sometimes that’s going to be you
Yes, it hurts! No one likes losing and it can feel like the end of the world when you do. Take it as a testament to the strength and dedication of your competitors.
Is this your best sport?
If things are going badly, no matter how hard you try, maybe this isn’t your game. It can be very painful to admit defeat (or what looks like it) but it might be worth considering if your very best efforts keep producing little satisfaction or success.
Working through pain is simply part of the process
We live in a world that focuses all its energy on winning, happiness and success. But we’re all likely to have down times — illness, lost clients, a period of creative frustration. Knowing it’s all part of the game reminds us of that. A pain-free, disappointment-proof life is usually unrealistic…and resilience a key component of creative success.
By Caitlin Kelly
Here’s an interesting piece from Quartz.com — a site I’ve written for — about the three essential skills we’ll need to survive the world of work:
The way that work looks, feels, and functions is in the midst of a dramatic shift. Every time we have gone through a major shift in work in the past, we have had to learn new skills to support it. We had to learn the work of agriculture. We had to learn how to work on an assembly line. We had to learn to use typewriters and fax machines.
So the question now becomes, what do we need to learn that will help us thrive in this new world of work today and ten, 20, 30 years from now? From my experience, I see three of the main categories of skills as: problem solving, technology, and self-management.
To which I say — with all due respect — Duh!
At the turn of the 19th century it was the captain of a whaling ship or a carriage driver who had to re-invent immediately as technology changed around them, no matter what their past achievements.
Today, anyone working in what’s quaintly called “legacy media” — i.e. print — is learning to pivot as fast as they possibly can, regardless of their awards, education, age or level of experience. Anyone with enough years and income to completely re-train or upskill is doing so. Those of us with an antipathy to the costs and time demanded to re-credential more formally are tap-dancing quickly.
In this respect, I feel fortunate to have grown up in a family of full-time creative freelancers. My father made documentaries, feature films and television news shows for the BBC, CBC, Disney and others. My late stepmother wrote and edited television dramas and my mother was a print writer, editor and broadcast journalist.
No one ever had a pension to look forward to; negotiating for our full value was standard operating procedure, with agents and accountants a normal part of worklife. We never relied on anyone to “take care” of us financially, so I learned to be
really cheap frugal with my income and save as much as possible.
I started my writing career with — yes, really! — a manual typewriter and an answering service. No internet, no Google, no email, no Twitter or Facebook.
I had to develop my “individual economic resilience” while still in college, as my freelance photo and writing work put me through it and paid my bills.
I’ve had, and sometimes really enjoyed having, a steady and healthy paycheck. But I’ve been laid off and I’ve been fired — losing that income overnight, sometimes with no warning.
Full-time freelancers learn how to manage money, or quickly flee self-employment, but learning those three skills is second nature by now. Any freelancer unable to create and sell their skills, over and over, raising their rates whenever possible, is not someone with IER. It comes with the territory.
Having said that…
A few thoughts on IER:
— How deliciously laissez-faire capitalist! We’re all just “units of labor”, individual mini-cogs in the enormous and rapacious machine of capitalism — hire/fire/repeat.
— How utterly American this is! Cooperation? Co-working? Finding shared solutions through a sense of solidarity with other workers? Snort! Every man for himself, boys — and devil take the hindmost.
— Can you say “union”? Of course you can’t! Now that American unions are the smallest and weakest in decades — 7 percent private sector and 11 percent of the public sector — it’s a foregone conclusion that The Man owns us, leaving each of us to fight individually for what we feel (or do!) deserve in return for our skills.
— Can you say “confidence?” If not, kiss your ass goodbye. It take some serious chutzpah; (see that soothing phrase above “self management”) to know when, how and how hard to push back against your freelance clients or full-time employer for better wages and working conditions. In a crappy economy, millions of us have lost our jobs, our former earning power and our nerve.
My biggest problem — the same one faced by millions of American workers in age of record corporate profits? (See: “problem solving”?)
From the Nov. 14 edition of The New York Times:
“We are adding jobs, but it is still a wageless recovery,” Elise Gould, an economist with the left-leaning Economic Policy Institute, said, adding that average hourly earnings rose only 0.1 percent in October after no gain in September. “The economy may be growing, but not enough for workers to feel the effects in their paychecks.”
The story received 410 comments, such as:
Joining this story with last week’s about fast-food workers in Denmark earning $20 per hour is an illuminating cultural history lesson. Many of the recently hired workers in the U.S. story are part-timers with no health insurance who are earning below the poverty level. In Denmark, the common interest in maintaining a society that offers a living wage to workers has created a higher scale. While the employers in Denmark are willing to make a little less profit than their U.S. counterparts, they still do make a profit, which combined with the vitality of a work force of decent wage earners pays dividends across the whole society. It’s a matter of choice. In the U.S., maximum profit at all cost rules the land and the workers suffer.
How’s your IER?
By Caitlin Kelly
Do you know Joseph Conrad’s work,“Heart of Darkness”, published in 1902?
These are the dying words of Kurtz, a central character in the book, whom the narrator finds deep in the heart of Africa; the 1979 film “Apocalypse Now”, starring Marlon Brando as U.S. Army Special Forces Colonel Walter E. Kurtz echoes the book in its themes, setting and use of names.
The book and the film are dark, despairing, exhausting — and powerfully unforgettable.
But these two words are resonating in my head much of the time now, thanks to what often seems a global parade of incompetence, greed, conflict, misery and despair.
— The shelling/retaliation between Israel and Gaza
— The shooting of an unarmed 18-year-old black man, Michael Brown (only the latest)
— The beheading of fellow freelance journalist James Foley by ISIS
— The New York Times reports that beheadings are now “routine” in Syria
— The nightly newscasts with images of yet another out-of-control wildfire consuming thousands of acres of Western U.S. forests and many people’s homes and businesses
There are risks to those who cover these stories, beyond the need to wear Kevlar body armor in Iraq or head-to-toe coverings when working around Ebola. There is also PTSD and secondary trauma for journalists and their editors and compassion fatigue for viewers and listeners.
I am also well aware — and would love some new re-definition of “news” to make misery less compelling somehow — that the mass media are utterly complicit here. By the time you, readers and and viewers, see and hear our/their versions of the world, they have been massaged, edited and sometimes bitterly debated.
As T.S. Eliot wrote, in Burnt Norton, in 1935: Humankind cannot bear very much reality.
The world is, obviously, filled with beauty and grace and joy, with people who get up every morning and give their best to those around them.
But, really, my dears, this wears me down.
Tune out? Become more politically active? Stop caring? Care more? Write a letter to the editor? Blog it? Blog it again…and again…and again…?
Write a check to a charity?
Rant to others on social media?
Or just…not care?
How about you? How do you respond — if at all — to the world’s madness and brutality?
By Caitlin Kelly
Have you seen the terrific documentary “Finding Vivian Maier”?
I finally saw it, and it’s an amazing true story of a French woman who spent most of her life working as a nanny for wealthy Chicago families, all the while shooting film and video, as — self-described — “a sort of spy.”
She lived in a tiny French town and in New York City in earlier years, but mostly lived in her employers’ homes as a way to live more frugally and to partake in family life. She never married or had children of her own and, it seems, was not at all close to her own family.
The film traces her history and interviews many of the people who knew her, from the children she cared for (and sometimes poorly) to their parents to a few of her friends. She was intensely private, insisting that everywhere she lived there were multiple locks on the door to her room.
And it all started with an auction, when the film-maker, John Maloof, bought a box of negatives:
After John Maloof purchased his first home and pursued a career in real estate in 2005, he began to get more involved in the community where he lived. He delved heavily into historic preservation and eventually became the president of the local historical society on Chicago’s Northwest Side. Given that this part of the city is often ignored, he came to believe that by writing a book on the neighborhood, he could work to promote awareness of its often overlooked charm. It was this decision to co-author the book Portage Park that would change his life forever.
The publisher required approximately 220 high-quality vintage photos of the neighborhood for the book. To gather enough images for this project, John and his co-author, Daniel Pogorzelski, were forced to look everywhere for any old photographs good enough to make the cut. The result was a nearly year-long scavenger hunt where they followed lead after lead to compile the pictures needed for the book. It was during this process that John visited a local auction house, RPN, to see if by chance, they would have any material for the book up for auction. Sure enough, he found a box of negatives depicting Chicago in the 60’s. Unable to get a thorough look at its contents, he took a gamble and purchased the box for around $400.
As someone who began her career as a photographer, and whose husband is a career photographer and editor, this story was even more compelling to me. Her images are truly extraordinary, and also now for sale — how sad and ironic that this has happened only after her death.
But Vivian’s story also intrigues me because we know someone personally whose trajectory is somewhat similar — a single European woman who nannied for wealthy families and who is also an artist. Even her first name initial is the same.
If you haven’t watched the film or seen any of Maier’s photos, I urge you to take a look.
Powerful stuff — and a sad, mysterious and memorable story.