By Miya Tokumitsu
The American declare that we must always love and be keen about our activity may well sound uplifting, or not less than, risk free, yet Do What You Love exposes the tangible damages such rhetoric has leveled upon modern society.
Do you like what you do?
This mantra is so usually repeated that it has turn into a part of the American ethos. discover a profession that you’re enthusiastic about. work flat out and maintain a stable angle, be continual, and all good stuff will come to you: wealth (or a minimum of fabric comfort), activity pride, a feeling of self worth, and the happiness that comes from attaining good fortune in a occupation that you just have chosen and locate fulfilling.
Except, as this penetrating, fact-filled booklet unearths, every one of these ideas are lies, and feature been co-opted by means of company pursuits which will pay their employees as low as attainable, and to strip away the hard-won advantages and protections that salary earners used to take pleasure in. finally, should you really love what you do, pedestrian matters approximately wage, overall healthiness care, and retirement savings can take a again seat. ardour and devotion are what topic. consequently, unpaid internships abound (they’re opportunities!), full-time positions are being replaced via freelance and agreement paintings (it’s flexible!), and the quantity of debt that one has to incur even to get within the video game should be crippling.
Both a rallying cry for a disempowered team to reclaim its footing on the industrial ladder, and an eye-opening exposé of the ways in which “doing what you like” can really make your ambitions much less plausible, this compact, insightful, and brilliantly argued call-to-arms may perhaps simply spark a much-needed workplace revolution.
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Additional resources for Do What You Love: And Other Lies About Success and Happiness
Sample text
No one seemed to know anything about her life or why she chose to keep her work to herself. Throughout the film, several people who knew Maier, primarily the families for whom she worked, announce their astonishment that they lived in the midst of a talented artist. More than once the interviewees ask hypothetically why Maier hid her work. ” asks one, revealing how thoroughly Facebook parlance has co-opted the word share and affected subjectivity itself. If one makes something, naturally it must be “shared,” that is, made public, commodified.
Maier’s decision not to use her photographs as a means for public renown remains the central question of the film. Yet Maier’s choice is only unintuitive when considered from a perspective that values public visibility above the work itself. As Rose Lichter-Marck writes in The New Yorker, “In the film, domestic work is placed in opposition to artistic ambition, as if the two are incompatible. But are they? Street photographers are often romanticized as mystical flâneurs, who inconspicuously capture life qua life, who are in the world, but not of it.
Many college graduates hold jobs that don’t actually require degrees, pushing nondegree holders into even lower-paid work, if they can find any at all. ”21 With decently paying manufacturing and service jobs a distant memory—exported, automated, or simply eliminated—forgoing a college degree dooms workers to a lifetime of extremely low-wage, largely contingent work and an overall existence defined by precariousness. In the United States, a particularly weak social safety net means that low-wage earners struggle inordinately for the most basic of needs, including food, shelter, and health care.