Listen Beyond The Wall

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Megan told me that there are cultures that never talk about disease. They believe that the spoken word has power so rather than talk about the disease they speak about the road to health. Or, they assume health and speak about it in the present tense, thus creating health.

We walk a path defined by our assumptions. We see what we expect to see. We see what we believe. When we talk about not being creative or not being good enough, that is what we reinforce. That is what we assume so that is what we create. Or that is what we create so that is the role we assume.

I learned again today (apparently a lesson with no stickiness) assumptions are tricky because they are hard to see. Assumptions are the rules for the game we play, they are the guidelines for the roles we believe we must fulfill. At the base of every miscommunication is a dueling set of assumptions.

People withhold their voices because they assume they know how others will perceive what they say. “I don’t want you to take this the wrong way,” is a statement steeped in assumption. Can you ever know how others will hear what you say? People diminish their truth because they believe they know how others will react. Can we ever know?

Assumptions are scary to challenge because they orient us. We locate ourselves in the world through the assumptions we make. It takes some fortitude to suspend our assumptions. It takes a desire to reach beyond what we think we know. The skill of listening is really about hearing beyond the noise-wall of our assumptions.

I can say, “I love you” and you will hear that I am cold. You can say, “I want to be near you” and I will hear that you are pushing me away. This is the power of assumption. We crush what is dear when wrangling with our assumptions and not what was actually intended. And so the story goes.

The spoken word has power. The internal monologue has power. When Richard Bach wrote, “Argue for your limitations and sure enough they are yours,” he was writing about assumptions. He was writing about the power of the word. Implied in his caution is the flipside of the coin: argue for your liberation and sure enough it is yours. The message is the same: flow happens when we can see and step beyond our assumptions.

Look Beyond The Word

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According to my dictionary, an entrepreneur is a risk taking businessperson. This is not much of a definition. The word is French in origin and it meant to undertake. It was a verb. To get out of bed and undertake the tasks of the day makes us all entrepreneurs. Especially these days when risk, according to the dictionary, means that there is a chance something might go wrong. I’ve yet to live a day when everything went right. For instance, last night I opened a jar of curry powder with too much enthusiasm and curry exploded everywhere. I think there is a more appropriate definition of an entrepreneur: someone whose not invested in things going right. In fact, entrepreneurs look for things going wrong because that provides the opportunity necessary for new creation. Entrepreneurs see the world beyond right and wrong. They see opportunity. Risk has nothing to do with it.

An artist, as defined by the dictionary, is a creator of art, a performer, a person with skills or a cunning person. The origin of this word is either French or Latin. We are cautioned in the dictionary not to confuse artist with artisan. An artisan is engaged in a craft. An artist is engaged in a fine art though I can’t find any mention of what distinguishes a craft from a fine art. From the definition of artist, the phrase “cunning person” shouted to me so following the word chain I learned that cunning means crafty and deceitful, clever or cute. So, artisans, unlike artists, must not be deceitful, clever or cute though they are, by definition crafty. In the Venn diagram of artist and artisan, craftiness is the crossover. So, to sum up: artists are cute, crafty, clever and deceitful while creating something fine. Artisans are rough, dull and honest while also crafty. Can one be crafty and dull at the same time? I have a more appropriate definition for artist: someone who lives beyond the abstractions of thought. They engage with what is there, not what they think is there. In other words, someone who has made presence a priority in his or her life is an artist. Artists guide their community to presence.

Words like “risk” or “fine” blind us. They distance us from our potential because we think we need to take risks to be entrepreneurial; we think we need to do something fine to be and artist. Artists and entrepreneurs explore. They engage. They discover. They act first and then make meaning of their experiences. They master their “doing” because they are not invested in win/lose games. They step into the unknown without reservation. Artistry, like entrepreneurship, defines a way of being not something achieved.

Move Beyond Belief

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Judy (She-Whom-I Revere) liked my post about geese and sent this addition to me: the collective pronouns for geese are: ‘blizzard’, ‘chevron’, ‘knot’, ‘plump’ and ‘string’ of geese. I agree with Judy, I think I like ‘blizzard’ the best. Someday in idle party chat I would like to say, “Recently, I was caught in a blizzard of geese!” I would have been confused by the pronoun ‘blizzard’ as it applies to geese had I not seen them en masse the other day. My experience opened my eyes to wonder.

Words have the capacity to both imprison us and to set us free. Words are used in an attempt to describe the indescribable as the poems of Rumi attempt to do, or they can box us in, cage us in a dedication of limitation. Daily in my coaching practice I hear some variation of “I can’t.”

Can and Can’t are two very powerful words because both have deep roots in imagination. One reaches while the other rejects. One steps toward the unknown while the other resists movement. Take a look around your home or your city. Everything you see or touch, turn-on or plug-in began with an imagining and an action all wrapped in the big arms of “I can….” The important thing to note about both Can and Can’t is that they have a counterintuitive association with belief. Can’t is firmly vested in it’s belief. Can’t leads with belief. The lack of belief in possibility is a firm belief in impossibility. Can has no need for belief. Can moves without belief. Can leads with exploration and discovery; belief, for Can, comes second, after the doing is done.

The same rule applies to almost all powerful words: those that imprison us are planted firmly in belief; they are arguments for limitation. Those words that liberate our imaginations are vested in possibility and exploration; for words like “can,” “imagine,” and “discovery,” belief is not necessary. Belief follows; belief comes second after experience and wonder.

Go Back To Basics

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Yesterday in my post I wrote the word “aquifers” but at first badly mistyped it and wrote “aquafire.” Isn’t that a lovely word collision! It sounds like the name of a garage band! I did a quick Google search (is there any other kind?) and found that aquafire is the name of a restaurant in Fayetteville, Arkansas. It’s also the name of a water heater company in New Zealand! You’ll not be surprised to learn that it is also the name of a company that makes floating fire pits, a fire protection company specializing in sprinklers, a blog about fishing, and a sauna and steam bath company.

According to western classical thought there are 4 elements that combine to constitute all matter: earth, air, fire, and water. Aquafire, according to the classical way of thinking, might be steam or lava or acid or a good jalapeno salsa. Once, I was in the ocean and was clobbered by a wave and met the rocky coral bottom with some unintended force; I could consider that experience aquafire.

I like the notion of elements as applied to obstacles; I have been known to think, “It only looks like an enormous boulder in my path. Apply a little heat and then let’s see what you look like!” The boulder calls my bluff every time but the threat of combining elements always frees my imagination so I can see the many possibilities instead of the single impediment. Problems become possibilities almost immediately when you consider their elemental make-up: problems and possibilities are both ways of seeing; they are choices. So, a good question to ask is, “What is the basic element of choice?”

The Greeks (and others) added a 5th element or quintessence. The medieval scientists called it, “ether,” which was considered to be the element that filled the universe (above our atmosphere). To the Greeks, quintessence was the air breathed by the gods and was distinctly different than the air we mortals breathe. It was pure, essential. Essence. If there is a basic element to imagination, choice, possibility, memory, intuition, and inspiration, I’m certain it must be ether, a touch of quintessence, the breath of the gods made manifest here on earth in you and in me.

Open Your Words

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It is an old theme but has floated to the surface of many conversations this week: language is not passive. The language you use orients you to the world.

A few nights ago, Judy and I talked about the power of language, particularly paying attention to language that “closes” as opposed to language that “opens.” For instance, to say, “I can’t” is to use language that closes you to possibility. To say, “I wonder…” is to use language that opens you to possibility. Try it. Pay attention to whether you use language that opens or language that closes you to possibility. Make a game of interpreting your world according to opening to possibilities and pay attention to how your worldview changes.

In another example, Skip helps his students be conscious of their left-brain language of measurement. When they ask if something is good or bad, best or optimal, he’ll ask them to rephrase it so the emphasis is not on a measurement, not on a judgment, but on the engagement. A wine is not “better” or “worse,” it is an experience; describe the experience. Open. Participate. Judgment or measurement removes you from the experience. Step in. Move into the other side of you brain. Judy tells me that she asks students if a choice is “skillful” or “useful” rather than good or bad. Discernment is different than judgment.

It seems like such a small thing. Plenty of people dismiss the notion that their language has power; they tell me that life happens. It does indeed! Life happens and then we story it. We give meaning to our experiences. We interpret our lives. The color, shape, texture, movement, and power we experience are according to the story that we tell.

It’s About Seeing

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The book is starting to take over. I’ve been working on it for a week or so with lots of bumps and uphill pushing. Today it announced where it wanted to go and required that I type a short prologue that I thought was post worthy:

This is a book about seeing.

Not many people see. Most people merely look. Just as most people hear but they do not listen, most people look but they do not see.

And, although this might not make sense yet, seeing has more to do with stories than it does with eyes. It works like this:

Everyone can see as a child. And then something happens. Children learn to name things with words. Then, they learn to spell the words they use to name things. Soon, they grow up and have a hard time seeing beyond their words.

It is a funny paradox about words: they can imprison your mind; they can also set you free. It all depends up how the words are used.

Artist’s and entrepreneurs share this trait: in order to master their craft they must learn to see again. And, in order to see, they must once again understand the power of their words.

Choose Your Words

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The walls in the bathroom of the Blue Moon are covered in quotes. I’ve spent a fair amount of time passing through that little room over the past four years and I am always pleased to find new quotes. Today this one jumped from the wall:

“One must be leery of words because words turn into cages.” Viola Spolin

I’m working on the chapter about the power of language. I was just writing about how the alteration of a single word can change a person’s perspective. Change one word in your inner monologue and you can change your world. That principle is the point of the classic children’s book, The Little Engine That Could (I think I can, I think I can); how many little engines out there are repeating, “I think I can’t, I think I can’t!”

I meet many people in my travels that tell me they are seeking their purpose. I wonder how their lives would change if, instead of seeking their purpose, they swapped the word “seeking” for “creating;” purpose is not something we find, it is something we fulfill. Purpose is not something that exists separate from us; it is something that exists within us. Imagine how your life might transform if you altered your premise of separation (my purpose is something that I seek) to a premise of generation (my purpose is something that I live). The entire arc of your life might change if you simply altered a single word in your field of expectations. Viola had it half right: words can turn into cages or words can set you free.

Exit The Drama

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Sitting in the Philadelphia airport I’m thinking about Drama. I watching them unfold all around me.

Drama is the first level of Alan’s elegant and oh-so-potent model, the 4 Levels of Engagement. Drama is story without a root, otherwise known as a victim story. Gossip is drama. Drama is predicated on enabling, there is a self-righteous gravity spinning at the heart of a drama story. I just heard this: “Can you believe what they did to me… Look what they made me feel.” Drama stories are easy to tell and often feel really good; victim stories are like sugar and are addictive. They are only tasty if shared and over time you will find that you need more and more drama to satisfy the need. They are hell if they dominate your thoughts. Literally. You are without power if you give credence to or invest in your victim story, “Can you believe what they did to me!” is another way of saying, “I need to pull someone down to feel powerful.” Drama creates power-over scenarios. Drama is usually carefully crafted to relieve us of the reality and impact of our own choices. Drama blinds us to our participation and that is precisely the point of all Drama stories. Life is happening to you.

You can never know another person’s story. You can never know their point of view, their circumstances or intention. You can never stand in their shoes. It is an easy game to make another’s story about you especially when you have no way of seeing through their eyes. We see their story through our filter. We distort what we can’t possibly know. There is one thing certain, a bet you can bank on with a Drama-teller: they will never ask the other about their story because it threatens their Victim status. They will accuse, they will blame, they will concoct, they will imply, they will manipulate, but they will never ever ask.

To exit the level of Drama requires some modicum of self-awareness and willingness to own your story. It requires acknowledgment of participation; an inward looking eye at your choices. It requires a greater concern for the story that you live than the story you tell about others. Assuming positive intent is great place to start. Asking others about their point of view before whipping up a Drama tale is another healthy technique. Practice challenging your assumptions. Practice listening. Practice focusing on your story more than the story you tell about others.

Being a participant in life requires surrendering your Victim role. It engenders generosity of spirit, an open mind and more importantly, an open heart.

Be The Source

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While preparing a new curriculum this morning, I reviewed work from the past and came across this phrase, something I wrote 4 years ago: In our language usage we often say, “_______ gives me joy.” So, for instance, “Painting gives me joy.” This phrasing leads us to believe that the joy is in the painting and you are the recipient of the joy. It leads us to believe that these “things” like joy, happiness, and contentment are external gems, separate from us, something we must seek to find.

Joy, happiness, and contentment are not things, not nouns. The painting does not give you joy, you bring the joy to the experience of painting. The capacity for joy is in you and ignites within you when you put yourself into a generative relationship. As I too often quote Viktor Frankel, “Happiness ensues.” Happiness and joy are not something you seek (separate from you), they are qualities that follow (originating from within you); joy is movement; a feeling is a verb. You are the source not the recipient.

I realize that I am writing a lot lately about the power of language to shape our perception. At present I am in a coffee shop and I just heard the barista tell her coworker that this upcoming year she will learn to say “no.” The couple at the table next to me are having an intense conversation and I just heard, “That’s just the way I am!” followed by, “Why can’t you be happy?” These are stories and the language is not incidental. It matters if you define yourself as separate from you joy. It matters if you believe that you are separate from your creativity or that you must do something to “deserve” happiness. If you define yourself as separate you will live separate from your powers of happiness, joy and contentment. You will think you need to seek them from others. You will define yourself as fundamentally powerless because you will orient yourself toward what you get from experiences instead of recognizing your infinite capacity to bring power to your life, to be power and vibrantly alive. Be the source of dynamic movement instead of a chaser of nouns. It matters.

Ask A Better Question

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I’m revisiting old themes. As a coach it is a constant fascination for me to witness again and again: the way we ask our questions determines the possibilities we see or do not see. Too often the thing we seek remains invisible to us simply because of the way we’ve asked the question.

A great cultural example is the question currently dominating education: we are asking how we might raise standards. We want a system that supports great learning in a 21st century world and it remains invisible to us because we are asking a 19th century question. What might we see if we asked questions about creating a system of great learning instead of questions about raising standards?

If you ask yourself the question, “What is missing in my life?” you will begin a search for what you do not have. The assumption beneath the question is that “it” is out there somewhere and must be found. So, the only option is to seek something that you currently do not possess. The question necessitates separation; your fulfillment is elsewhere. The question reinforces separation because the question assumes separation.

Ask the question another way: “What do I want to create in my life?” Instead of a treasure hunt you will begin to generate from within. As a rule, fulfillment is rarely something we find outside of ourselves, it is something you live; fulfillment is not an outcome, it is something that follows. The question reinforces wholeness because the question assumes wholeness.

What are the questions you ask? What do your questions reveal about your assumptions? Is there a better question?