Category Archives: Feedback

And by “You” I mean “I” (or “Me”)

round1To believe your own thought, to believe that what is true for you in your private heart is true for all men—that is genius.

Ralph Waldo Emerson

Personal essays require believing you’re a valuable subject. The principle justification for writing about yourself comes from the granddaddy of personal essayists, Michel de Montaigne, who said individual experience is never purely individual. He believed, “Every man bears the whole stamp of the human condition.” And—if you accept his premise—the particular, paradoxically, illuminates the universal.

Philip Lopate goes further in his introduction to The Art of the Personal Essay by urging confession. Confession garners trust because, “The spectacle of baring the naked soul,” he says, “is meant to awaken the sympathy of the reader, who is apt to forgive the essayist’s self-absorption in return for the warmth of his or her candor.” In indicting yourself, the thinking goes, you must be honest.

If you’re sincere, your “indictment” might include confusion and the hopelessness of ever deciding anything definitively. Admitting you don’t (and maybe can’t) understand could be part of every essay, especially if you undertake issues or questions hoping to resolve them. Montaigne said, “Anyone who studies himself attentively finds in himself and in his very judgment this whirring about and this discordancy.” He also says, “There is nothing I can say about myself as a whole simply and completely, without intermingling and admixture.” Yet confusion will likely frustrate your reader as much as you. Sympathy has limits. You’re supposed to say something worthy or why write? Expressing your finite intelligence isn’t helpful or winning or impressive.

What is? You can’t be sure. Personal essays involve inventing a tolerant audience willing to sympathize with tortuous, circular, and equivocal ruminations, fellow feeling that maybe might occur if your thoughts are new, relevant, incisive, clever, amusing. You could be the worst judge though, and not know it. Just as the tone deaf are least qualified to assess the quality of their own voices, you may sing on, missing cues signaling how discordant or flat you are. And any response, even the most muted and mixed, could produce disproportionate effects. Someone smiles or smirks, and you think, “Ah. I’ve said something. I’m communicating. An ear is listening at the other end of this line, after all.”

The high-wire risk of personal essays is faith. You pray you’re perching on insight. Keep going, write enough, and you’re sure to… you think. Life is finite, you think. One life may be different, you think, but, if you try hard enough or long enough, you’ll reach some truth, minor and irrelevant as it might be. Sure, quantity can be the enemy of impact, yet—you think—you’re an exception.

So you tread on. You reach your foot forward praying for something like solid ground or a great uplift of wind to keep you from falling.


Filed under Aesthetics, Ambition, Art, Desire, Doubt, Ego, Empathy, Essays, Feedback, Hope, Identity, Laments, life, Meditations, Rationalizations, Resolutions, Sturm und Drang, Survival, Thoughts, Voice, Worry, Writing

The Receiver, the Message, and the Messenger (In That Order)

0The technical meaning of the word “feedback” doesn’t exactly the match its colloquial meaning. In acoustics, feedback is sound doubling back, fuzz reverberating in dammed sound waves. Whereas, when teachers or other evaluators use “feedback,” they mean to say something new, something missed or unnoticed. In sound, feedback is a sort of echo. Teaching feedback says, “Here’s what you’re haven’t done… and should.”

Not everyone is good at receiving feedback. A teacher points out a glaring error, and suddenly the student’s competence is being questioned. The student’s face clouds. Maybe tears start. The tone of critique can make a big difference, and many teachers rely on “This work” over “You” because they want to emphasize the process over its author. They wish to make feedback an intellectual process, and, as long as any issue is repairable, it’s no reflection on the person who made the mistake. A student who can always improve his or her work—these teachers believe—receives even brutal critique as a ratification of their ability and capacity for improvement.

Yet how students respond to feedback often rests more with their personalities than how they’re criticized. Someone burned before may not want to go near any stove, and someone with an insecure sense of self might be hypersensitive to even the mildest threat. Teachers often have to guess which category this individual is in and how he or she might respond. In other words, they need to know students. Sometimes that’s impossible, and yet, paradoxically, teaching means focusing not exclusively on work  but on the workers’ feelings and investment.

And as the consequence of the work increases, the gravity of criticism grows. Discuss “the essay” with a student five days before the due date, and he or she might respond positively and hopefully. The day before the due date, some measure of reassurance may be necessary, not just “These repairs are doable” but “YOU can do these repairs.”

Perhaps all work is personal work, inseparable from the person who does it.

Bosses frequently neglect “You can do it” because, after all, employees are compensated for good work. It’s required. What’s more, a boss may think only producing matters. Though studies confirm over and over that output rises when a manager takes interest in developing skills and a worker feels valued and important, concern for employees as people seems too messy, time consuming, and expensive. It’s easier to bypass the worker and stress the work. Many businesses use feedback exclusively to cull people they deem ineffective. In that case, “evaluation” or “adjudication” might be more honest. In a time of labor surplus, employers are much more interested in finding the right person for a job than helping someone learn how to do the job right.

To a lesser extent, the same issue arises in schools when those giving feedback have more concern for assessment than education. From that perspective, feedback justifies a grade instead of improving either the academic work or the capacities of the student. As in many workplaces, some teachers hope to keep the process of “managing” students clean by stressing the product. They wish to avoid entangling themselves in the idiosyncratic.

When the academic work is central, teaching is supposed to result in the best work possible, and any “feedback” that accomplishes that end, including threats, sarcasm, and personal insults, becomes permissible.

The dilemma is that, here too, personality matters in ways challenging to acknowledge. Teachers (and bosses) aren’t immune to insecurity either and, whether consciously or unconsciously, may express those insecurities in petty authority. An impersonal process has the advantage of protecting them from examining their own motives, even if giving particularly cold or harsh feedback fulfills only a need to believe in their own competence and significance.

As a term and a concept and a practice, feedback is challenging. In the end, however, its acoustic meaning may reflect most on the way people use the word. If feedback labels the need for evaluators to double back and evaluate themselves and their motives, perhaps it’s the right word.

But if the ultimate purpose is progress, growing productivity and confidence, then maybe the word is wrong. Proper feedback doesn’t feed back at all but reaches receivers through careful sensitivity to who’s listening and what they can hear well. It speaks without echo or distortion.




Filed under America, Carol Dweck, Criticism, Desire, Doubt, Education, Ego, Essays, Feedback, Grading, High School Teaching, Identity, Meditations, Modern Life, Sturm und Drang, Teaching, Thoughts, Words, Work