My rating: 5 of 5 stars
Once upon a time there was a woman who dreaded the staff meeting roundtable, when each person had to share what was good or bad or on their professional plate that week or in their personal life. All five, nine, fifteen pairs of eyes would be upon her as she forced her voice to carry down the table, knocking off as few words as she could to express, “Everything’s great!” before turning her flushed face to the colleague beside her. This same woman could take the stage before an audience in the hundreds and deliver a speech with poise, loving every moment she was in the spotlight.
She’d spin around her shopping cart to avoid meeting an acquaintance in the produce department at the grocery store, then host a wine dinner that night for twenty strangers, the joy bubbling as much as the Champagne she poured, explaining to the assembled crowd the difference between méthode traditionelle and transfer method of production. She could spend hours waiting tables at a busy restaurant, engaging in happy grace and good humor with dozens of customers, but the thought of a Friday night party at a friend’s, hanging out in a kitchen drinking beer with a few people from work? She’d feign a sudden flu or a last-minute family obligation to avoid hours of mindless chatter.
That I am an introvert is not news to me. I can’t recall when I first took the Myers-Briggs personality test, but I should have INFJ tattooed on my forehead, for the results never waver. And at some point, I got the message that being an introvert doesn’t mean I’m shy, for I am not. It doesn’t mean I’m not a risk-taker, for I am, or that I don’t form deep personal attachments, for I have many. What it does mean, among many things, is that socializing wears me out. I abhor chitchat, loud people, group projects and “going out.” It means I love to lose myself in solitary endeavors. It means I love process, not reward.
It means I’d rather just sit and listen. And when I have something to say, please be patient. I’m not a fast talker and I pause a lot, searching for just the right word. And even then you’ll probably have to strain to hear me. Unless I’ve thoroughly rehearsed my responses, I’ll never deliver my thoughts with articulate confidence and my volume is usually turned to low.
There are parts of Susan Cain’s Quiet: The Power of Introverts in a World That Can’t Stop Talking that made me laugh, even as tears stung my eyes. Knowing I prefer to be alone—that I have little tolerance for casual social situations—never released me from feeling I needed to overcome my social awkwardness and impatience, my thin skin and tendency to fret about the future and things beyond my control. I thought these were faults, not characteristics of a personality type shared by millions, most of us existing in contemplative, considerate silence.
Through research, anecdotal interviews and personal experiences, Cain explores the ways introverted personalities manifest themselves in the workplace and personal relationships. The section on “highly-sensitive” people struck home.
The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive. They love music, nature, art, physical beauty. They feel exceptionally strong emotions—sometimes acute bouts of joy, but also sorrow, melancholy, and fear. They are highly empathetic…with thinner boundaries separating them from other people’s emotions and from the tragedies and cruelties of the world (pages 136, 137)
Yes, please. Reading this, I realized one of the reasons I tend to shut myself off and away is because I am overwhelmed by my own helplessness to change the world. I take things so personally and feel them so deeply that I become frozen in place, not knowing how to translate feeling into action.
When Cain, on pages 217-218, discusses her professional epiphany, I had another laugh/cry moment. Hers was realizing that she was never cut out to be a corporate lawyer; mine, a university or corporate administrator. There is so much about each profession at which we excelled, rising quickly through the ranks. But neither of us is cut out for committee work, for schmoozing and glad-handing, for blowing our horns—all required in legal circles and ivory towers and boardrooms. I loved the one-on-one time I spent counseling students, building relationships with individual faculty or business partners, developing administrative processes and procedures, doing research and yes, presenting at conferences and leading workshops, for which I rehearsed and prepared weeks in advance.
But I knew I’d never rise to the ranks of the one in charge; I simply wasn’t built for the social demands and networking required of a Director. So, for twenty years I left job after job just at the pinnacle of power and success—always the Bridesmaid, never the Bride. I never really knew why, except that something was inherently wrong with me. At long last, I accept nothing is wrong with me: denying myself the opportunity to advance is recognition that moving up meant moving into roles for which I was constitutionally not suited.
Now I am a writer. And a peaceful little clam. I work to create niches of social balance to avoid complete isolation—I belong to a book club, a writer’s group, I volunteer, meet friends for coffee. Social media is a great release for me, because I talk only when I want to, I have all the time in the world to construct my thoughts (which I can edit later!) and no one is looking at me as I speak. Quiet has given me permission not to regard my limited in-person social circle as evidence of a failure of personality, but as respect given to my true nature: “Love is essential: gregariousness is optional.”
In some ways, working through the theories and examples in this book is exhausting and dispiriting—if I’d had a better understanding of how I function best, would I have made different choices? Yet, the most important choices I’ve made—a life partner who is warmer and friendlier than I, but even more of an introvert; excelling at and loving parts of my profession that I’m built for and not being swayed by extrinsic rewards to pursue paths for which I am not; the dogged determination that puts me in front of a keyboard every day with few indications that I will be able to make a living doing what I love—I’ve stuck to my temperament. My life’s path hasn’t been without its stumbles, but even without knowing quite what makes me tick, I’ve been true to my nature. This is Cain’s consistent and loudest message, delivered with the gentle power of an introvert.
A Manifesto for Introverts (from Quiet)
1. There’s a word for “people who are in their heads too much”: Thinkers.
2. Solitude is a catalyst for innovation.
3. The next generation of quiet kids can and must be raised to know their own strengths.
4. Sometimes it helps to be a pretend extrovert. There will always be time to be quiet later.
5. But in the long run, staying true to your temperament is key to finding work you love and work that matters.
6. One genuine new relationship is worth a fistful of business cards.
7. It’s OK to cross the street to avoid making small talk.
8. “Quiet leadership” is not an oxymoron.
9. Love is essential; gregariousness is optional.
10. “In a gentle way, you can shake the world.” – Mahatma Gandhi
“The secret to life is to put yourself in the right lighting. For some, it’s a Broadway spotlight; for others, a lamplit desk. Use your natural powers — of persistence, concentration, and insight — to do work you love and work that matters. Solve problems. make art, think deeply.”
My rating: 5 of 5 stars
“We have neither of us anything to tell; you because you do not communicate, and I, because I conceal nothing.” Marianne Dashwood to her sister, Elinor.
And thus is Marianne’s yang to Elinor’s yin. Two halves of a whole, two women bound in love and in blood, as different and dependent as the sun and moon. Passion and logic. Emotion and propriety. ESFP and INTJ.
Jane Austen first crafted this story as an epistolary novel and titled it “Elinor and Marianne.” Although the structure would change as she revised the novel over fifteen years until it was published in 1811 as Sense and Sensibility, the relationship between these two young women remained its core.
But this novel isn’t about a conflict between sisters with opposing characters, one directed by Sense, the other driven by Sensibility. It’s about recognizing the sense and sensibility we each possess and how to release one and harness the other when love beckons and threatens in equal measure. It is about a quest for harmony and the embrace of one’s true self, about the ability to admit fallibility while still seeking personal growth. Sense and Sensibility is the Tao of Austen.
The moments of self-actualization are many and profound. Elinor’s is the least notable because she enters and remains the most centered and stable person; Colonel Brandon’s came many years before the novel takes place—we learn of it as he relates the sorrowful story of his lost love and the child he takes on as a ward; but John Willoughby, Edward Ferrars, Marianne Dashwood—each has a period of reckoning that challenges the weakest aspects of their characters and each arrives at a resolution.
Elinor may well be my favorite of Austen’s women (I hedge, because as soon as I reread Pride and Prejudice, I’ll claim it to be Lizzy). She is certainly the most dignified and humane. She is also the most relatable. Her compassion is justified and deeply-felt, which makes her uncharitable thoughts all the more delicious. In this comedy of manners, Elinor is above reproach, but beneath her unflappable surface is a wry sense of humor, prone to irony and exasperation.
Lucy was naturally clever; her remarks were often just and amusing; and as a companion for half an hour Elinor frequently found her agreeable; but her powers had received no aid from education: she was ignorant and illiterate; and her deficiency of all mental improvement, her want of information in the most common particulars, could not be concealed from Miss Dashwood, in spite of her constant endeavour to appear to advantage.
And although Edward Ferrars does not make my heart thump in the slightest, not compared to the enigmatic Mr. Darcy, the dashing Mr. Knightley, or the heroic Christopher Brandon, I have the most tender of spots reserved for the most hopeless of introverts:
“My judgment,” he returned, “is all on your side of the question; but I am afraid my practice is much more on your sister’s. I never wish to offend, but I am so foolishly shy, that I often seem negligent, when I am only kept back by my natural awkwardness. I have frequently thought that I must have been intended by nature to be fond of low company, I am so little at my ease among strangers of gentility!”
Sense and Sensibility has Austen’s most rousing cast of secondary characters, with the wicked witch Mrs. John Dashwood (portrayed with perfect insufferableness by Harriet Walter in the 1995 film adaptation. The one I must watch at least once a year), effusive, lovable busybody Mrs. Jennings, sly and silly Lucy Steele, and the preposterously mis-matched Mr. and Mrs. Palmer. But it is Elinor for whom I turn each page, in admiration and tenderness. It is Elinor who I most aspire to be, to create, who I wish I could have known, who I mourn because she is the closest connection to the author herself. Elinor had the Happily Ever After that Jane was denied.
“Know your own happiness. You want nothing but patience- or give it a more fascinating name, call it hope.”
The Tao of Elinor. The Tao of Jane Austen.
And now. I’m done parsing. For that is Sense. I read Jane Austen to indulge my Sensibility. I sink into her novels and want them never to end. I cherish her language, I adore her characters, I marvel at the simplicity and perfection of her plots, I cry because love triumphs in the end. There is just no making Sense of why I adore Jane Austen. There is only Sensibility: Capacity for refined emotion; delicate sensitiveness of taste; also, readiness to feel compassion for suffering, and to be moved by the pathetic in literature or art. (Oxford English Dictionary; 18th and early 19th c. Usage); the ability to appreciate and respond to complex emotional or aesthetic influences; sensitivity (Modern Usage).
Until next time, Jane.