Getting to No

I’m not very good at negotiating with cats. When our big, gentle, orange cat Timmy spreads out on my desk and makes it impossible to reach my computer keyboard, asking him to scootch over to the right is useless. At the same time, I can’t chase him away, because I don’t want him to feel unloved. (Timmy is deep-rootedly insecure.) So what I end up doing is launching a virtual keyboard onscreen and typing one letter at a time with my mouse.

When our perpetually inquisitive tabby Mary Beth jumps up on the kitchen table in the hope that I’ll share my lunch with her, my telling her that “there’s nothing here that cats eat!” doesn’t help. I can’t very well push her off the table — using my greater size and strength against her feels unfair — so I usually just take my lunch elsewhere. My wife Debra will often walk into the kitchen, see me standing at the counter next to the sink eating my sandwich, and shake her head sadly.

The bigger problem is that I’m not much better at negotiating with people than I am with cats. Debra and I used to run a business together, writing and producing educational and training materials. Whenever a potential client asked us for a bid on a project, I would try to figure out ways to cut costs in order to ask for as little money as possible. This wasn’t because I was trying to undercut the competition — in many cases, there was no competition —  but because I knew that education and training are chronically underfunded, and I didn’t want the client to have to spend more money than necessary. This approach to the bidding process occasionally led to awkwardness when the client — not understanding that I had already cut the budget to the bone — tried to bargain me down.

People have tried to explain to me that that’s not how the negotiation process is supposed to work. I’m supposed to start with a bid that’s unreasonably high; the client is supposed to start with an offer that’s unreasonably low; and then we’re supposed to meet in the middle. But I could never bring myself to do it that way. It would be disingenuous to pretend that I was offering a fair price when I knew that I wasn’t.

I don’t do much better when I’m on the other side of the negotiation. If I’m at a market in another country where bargaining over price is the norm, I can’t bring myself to start with an unrealistically low bid. It feels disrespectful, as if I’m dismissing the time and care that the artisan put into making the product. (And yes, I understand that in those cultures, failure to bargain aggressively is what’s considered disrespectful. But even though I understand that intellectually, I still have trouble doing something that doesn’t feel right emotionally.)

I have to confess that this attitude doesn’t run in my family. When my father was in the army and was stationed at a base in San Antonio, my mother would often cross the border into Mexico. Although she had grown up in the Bronx and had never been to a Spanish-speaking country, she had learned to speak fluent Spanish. Speaking in English, and convincingly playing the role of the young white woman that she was, she would make a ridiculously low offer on a product in a market. The merchants would confer — in Spanish, right in front of her — on how low they were willing to go, and she would respond by offering that price in perfect Spanish. (Or so the story goes. Not yet having been born at that time, I can’t confirm that these too-good-to-believe transactions actually happened.)

My difficulty with negotiation is not only a problem in business settings. Whenever Debra and I have a disagreement, we tend to be more protective of each other than of ourselves. “I’ll go along with whatever you want,” I’ll say, and she’ll respond with “But what about what you want?” Years ago, when we were seeing a counselor during a difficult point in our marriage, he couldn’t believe that we engaged in that dynamic. “That’s not how it’s supposed to work,” he said, with some exasperation. “You tell Debra what you want,” he said to me, “and then you tell Mark what you want,” he said to Debra, “and then you work out a compromise!”

That idea came as a complete revelation to me. I’m not sure we ever managed to fully adopt that model, but fortunately, after 33 years of marriage, we no longer find much to disagree about. In any case, I still manage better with Debra than with the cats.

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You Can’t Say That

Silhouette of human body on stack of papers with red "WRONG" stamp

I was in third grade, and had just taken a spelling test. I’ve always been a good speller, so I knew I’d aced the test. But when my paper came back, I was startled to see one of my answers with a big red X next to it.

“Why did you mark this wrong?” I asked the teacher.

“Because you wrote gray or grey,” she replied.

“I wanted to be complete,” I said.

“This is a test!” she said. “You can’t give me a choice between two different answers. You have to give a single answer.”

“But they’re both right,” I said.

“I don’t care,” she said. “You have to choose one or the other.”

I was getting frustrated. “How do I pick one or the other when they’re both equally right?”

“Just pick one,” she said.

“But…”

“I’m tired of arguing with you,” she said.

“G-r-a-y,” I said, defeated.

“Correct,” she said, although it was less correct than the answer I’d originally given.

This was my initiation into the world of “you can’t say that,” in which — due to unwritten rules, norms, or business considerations — saying something that you know to be true is not allowed. I’m sure we’ve all encountered such situations. Here are a couple that stand out in my memory.


A client of the publishing company I worked for was thinking of using a new technology to create some interactive learning materials. As a young project director, I was charged with doing a feasibility study to find out whether their idea was practical. After doing extensive research, I concluded that what they were proposing was unlikely to work, and I wrote a report saying so.

“The report is fine,” said my boss, “but you have to change the conclusion.”

“What do you mean?” I said. “All of the evidence I cite in the report suggests that their idea is impractical.”

“It doesn’t matter,” he said. “If we say that their idea isn’t practical, they won’t hire us to develop the prototypes.”

“But the prototypes won’t work,” I said. “Besides, as the person who did the research and wrote the report, don’t I get to decide what the conclusion is?”

 “Where did you get that idea?” he said.

For days afterward, I heard him telling my more experienced coworkers, “Mark thinks that just because he wrote the report, he gets to decide the conclusion!” And they would all laugh.


Starting around 2005, community colleges like the one I taught at were forced to adopt an assessment paradigm called Student Learning Outcomes, or SLOs. The point was to hold colleges accountable for their educational effectiveness by offering quantitative evidence that our students were actually learning what we claimed to be teaching.

I could understand the desire for accountability, but the idea of quantifying students’ learning in creativity-centered classes made no sense to me. Unlike in math or science, the quality of students’ imaginative work can’t be measured in any objective way. My students tended to be of a range of ages and backgrounds, and each enrolled in the course wanting to get something different out of it, so I couldn’t imagine any consistent scale that would apply to all of them. And finally, if my own experience is any guide, most of the best lessons that teachers impart don’t have immediate results — they incubate in a student’s brain and may not have any observable outcome until years later.

At the end of each semester, we were required to file an SLO report in which we would give a quantitative measure of each student’s learning, compare that to a numeric goal that we had previously set, and describe what changes we planned to make based on the difference between the two. I managed to come up with a number that represented each student’s learning, but the goal I specified was always 0. As for the changes we planned to make, I always wrote the same thing: “The measurements in this report are arbitrary and meaningless, and therefore I don’t plan to make any changes based on them.”

I did that for years, and no administrator ever complained — chiefly, I think, because nobody actually read my submissions. Then, one day, I had a visit from a representative of the Student Learning Outcomes Assessment Committee, who asked, in effect, what the hell I thought I was doing.

“Everything I wrote is true,” I said. “The data are meaningless.”

“I don’t care if it’s true,” he said. “You can’t say that in the reports.”

“Nobody has complained up until now,” I said.

“Our accreditation is up for renewal,” he reminded me. “The committee from the ACCJC [the Accrediting Commission of Community and Junior Colleges] will be coming here to examine all of our records. They’re expecting to see 100 percent SLO compliance. Based on what you’ve written, they could put us on warning.”

“But I haven’t technically violated the rules,” I said.

“It doesn’t matter,” he said. “You have to play the game.”

Playing the game required me to rewrite six years of SLO reports. The revised reports, of course, had no more value than the original ones; they were just longer and contained the right words.


What can we conclude from stories like these? We’re taught as children always to be honest; then, as adults, we’re required not to be. And the examples I gave here take place only in the business world. There are many instances of “you can’t say that” in our personal lives, as well.

Sometime in my 20s, I got a phone call from an old friend — someone I’d known since childhood and had become buddies with in high school — inviting me to his annual Halloween party. I’d been to his Halloween parties before, and I’d never had a good time. They consisted of some strained conversation among people who were as socially awkward as I was, followed by a showing of some horror movie on video. I’d gone every year out of loyalty to him, but I just didn’t feel like it this time.

“You know I value your friendship,” I said. “We’ve known each other for a long time, and I wouldn’t feel right lying to you. Driving from New Jersey to Brooklyn is a long way to go, and it doesn’t feel worth it to me. The truth is, I don’t really enjoy your Halloween parties that much.”

There was a long silence on the other end of the line. I waited, hoping that he would respect and appreciate my honesty.

“You know,” he finally said in a hurt and angry voice, “you could have just said that you were busy.”

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Voices In My Head

I’ve just finished listening to a 29-hour audiobook by one of my favorite writers, historian Jill Lepore. Unlike most recordings of books, this one was read by the author herself. She’s not a professional voiceover talent, so it was interesting to note how her delivery varied — I could easily tell when she was engaged, or bored, or worn out. (When she was especially tired, her voice got hoarse and she read at breakneck speed, as if to get it over with.) Ordinarily I would find that inconsistency distracting, but it helped that her speaking voice perfectly matches her authorial voice, so her reading just felt human, as if Lepore was sitting nearby and speaking to me.

That’s not always the case. There are some writers whose speaking is so different from their writing that it’s hard to accept that they both come from the same person. In the 1980s, I was a great admirer of Michael Kinsley’s political writing, and I used to eagerly await each new issue of The New Republic to see what smart, incisive things he had to say. He gradually made the transition to being a TV pundit, and the first time I heard him speak, I was immediately let down by his weak, nasal voice and Michigan twang. I never enjoyed his written work as much after that, because I mentally heard the words in his voice as I was reading.

I have to confess that my own speaking voice is more in the Michael Kinsley category than the Jill Lepore category. My writing style is confident and articulate — or at least I like to think so —but my speaking is the opposite: My voice is thin, often strained, and somewhat doofy, and I tend to mumble and stammer and slur words together. Much of the time, before a sentence is fully out of my mouth, I know that the person I’m talking to is going to say, “What?”

For much of my life, I had a parallel voice, what I called my “narrator voice.” It was a voice that I started to cultivate when I got my first tape recorder at eight years old, and that came into full flower when I reached my teens. In ninth grade, I got out of writing a term paper by volunteering to record a dramatized series of African folktales, complete with sound effects and original music. Throughout high school, I wrote and produced radio-style commercials for the shows we were doing in the drama club, which got played over the school’s PA system during the morning announcements. All of these recordings featured my narrator voice — a credible imitation of a 1940s radio announcer, all rounded vowels and clipped consonants. It was a voice that, in retrospect, was corny even in the 1970s, when people on the radio were beginning to adopt the more laid-back, conversational style that’s standard today. It was a voice that I certainly couldn’t use socially, but defaulted to using onstage, which is presumably why I so often got cast as professors and judges.

I also tended to use that voice when I was singing. I never realized how strange that was until I started taking singing lessons in my 20s, and my teacher — hearing me perform a song that I was then doing in a children’s play — said, “Why are you over-enunciating your words that way?” It was the first time I really became aware of the phoniness of it. Why, indeed?

I don’t think it happened consciously, but from that time on, I gradually shed all vestiges of mannerism in both speaking and singing. I may not like my voice very much, but at least I know it’s authentic. This, surprisingly, has become something of a handicap when I try to sing popular songs. Have you ever noticed that singers of folk and rock music pronounce their words with a sort of pseudo-western or southern accent — the kind of accent where “I’m singing” comes out as “Ah’m singin’ “? Everybody does it, and I don’t think it’s done deliberately; it’s just the way people learn to sing. I don’t talk that way, and I just can’t bring myself to sing that way. When I try, it comes out sounding awkward and unnatural. When I hear someone else do it, It feels as much like an affectation of informality as my narrator voice was an affectation of formality.

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People Say Things

A colleague of mine at Chabot College once asked me for a favor: He wouldn’t be able to attend the annual open meeting of the Faculty Association, at which the union officers would update us about their most recent negotiations with the college administration. Could I please attend the meeting, and then let him know afterwards what happened?

I saw him in the hallway late that afternoon, and he asked me, “So, what happened at the meeting?”

“Well,” I said, “Charlotte got up and said some things, and then she introduced Tom, who said some things. Then Dave said some things….”

“Wait a minute,” he said. “What did they say?”

“I don’t know,” I said. “Probably nothing important, or at least nothing significant enough for me to remember.”

He looked at me as if I were an imbecile. “I thought you were going to tell me what happened at the meeting!”

“But that is what happened at the meeting,” I said. “Charlotte said some things, and then Tom said some things….”

Needless to say, he never again asked me for a similar favor. But I learned something from that conversation — namely, that he and I had different definitions of the word “happened.”

In retrospect, I admit to having been in the wrong in that situation. But I think my mistake was understandable. People say things all the time, and hardly ever does the content of what they say matter more than the fact that they said it. Think of graduation ceremonies: Apart from the handing out of diplomas, the only thing that happens is that people make speeches. The school administrators make speeches, the valedictorian and salutatorian make speeches, and a special guest VIP makes a speech. Looking back on the graduations you’ve attended, do you remember anything that any of those people said? Most likely you don’t, because what they said doesn’t matter. What matters is that oratory was delivered, preferably with an air of great significance. If nobody gave a speech, there would be no ceremony.

What is true of graduation ceremonies is true of much human interaction. Our society offers very few ways to connect with people, other than through conversation. As much as I might want to, I can’t reach out and physically touch you unless we already know each other well. I can’t gaze into your eyes or project telepathically into your mind. I can’t even sing in close harmony with you unless we both happen to be musicians who know the same songs. All I can do is talk with you, and the fact of our talking matters much more than whatever we happen to be talking about. I have been known to claim (admittedly with some hyperbole) that the true subject of any conversation is “I love you.“

There are exceptions, of course. There are plenty of interactions whose primary purpose is the transmission of information — getting directions, for example, or listening to a news report. (Clearly, the union meeting I attended should have fallen into this category.) And even in ordinary conversations, the meaning of the words has some importance. But — like the cat who ignores the fancy pet-bed you bought in favor of the cardboard box that the bed came in — I find much more satisfaction in the vessel that contains the words than in the words themselves.

I’m not sure how much of this is universal, and how much is just me. I’ve long known that my brain is wired funny, and one symptom of the miswiring is difficulty with processing spoken language. If someone is talking, I can concentrate on parsing the words for meaning, or I can relax and experience the energy of the person who is speaking, but I can’t easily do both. As you can imagine, the more I like a person, the more I tend to savor the feeling of being in their presence — which means that I’m less likely to take in the literal meaning of what they’re saying. This often proves embarrassing later, when they assume that I’ll remember something significant that they told me, and I don’t.

But it can’t all be me. Think about the last time you went to a movie with someone, and how different that was from going to see a movie by yourself. You and your companion don’t converse during the movie — at least I hope you don’t — and yet simply having that person in the seat next to you changes the nature of your experience. That impalpable element, I believe, is what gives most conversations their flavor. Writing about this makes me sad, because we’re in the midst of a pandemic in which most human contact is off-limits. Conversing by phone or screen feels empty, because information is the only thing those media can transmit. Even meeting in person falls short, because it’s hard to feel the visceral presence of someone who is masked and sitting six feet away. All we have to offer each other is words, and words are inherently unsatisfying. I long for the return of a time when meaningful things don’t just get said, but happen.

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