Quotes & Sayings About Criticism At Work

We have to look at the figures of speech a writer uses, his images and symbols, to realize that underneath all the complexity of human life that uneasy stare at an alien nature is still haunting us, and the problem of surmounting it still with us. Above all, we have to look at the total design of a writer's work, the title he gives to it, and the his main theme, which means his point in writing it, to understand that literature is still doing the same job that mythology did earlier, but filling in its huge cloudy shapes with sharper lights and deeper shadows. [p.32] — Northrop Frye

The writer should have a comprehensive outlook. He should aim at a holistic understanding of the prevailing social, political and economic conditions.

He should evaluate all factors in a balanced way. To take a selective view will be erroneous. A realistic approach becomes necessary. This requires healthy literary criticism and exchange of views.

A writer should necessarily venture into his enterprise by touching on a single issue. But then he should relate it to other socially relevant issues. This is what we call the socio-spiritual approach.

You may begin your work dwelling upon the problems of an individual, but then as a writer you should be able to view it as part of the larger social reality. — Jayakanthan

Isolation in creative work is an onerous thing. Better to have negative criticism than nothing at all. — Anton Chekhov

Unfortunately most criticism is by poseurs. They use their comments about someone else's work as a platform on which to strike poses. What they're really saying is: "Look at me! Look at me!" — Frank Herbert

I look at my work and make up my mind about it. After that, neither flattery nor criticism matters to me. — Georgia O'Keeffe

We all look for the crack of dawn that signals the passage of responsibility to a fresh crew. We all know the system sucks, that the long hours make for fuzzy thinking and that they generate pure blind hate at facing that next ridiculous admission. We all feel the frustration of doing too much for too few, and the insecurity of not knowing how much is too much or if it was really too little. We don't like admitting how little we know, and none of us wants to look like fools. We don't like criticism and yet we need it. We flog and flog, and rarely have the opportunity to see the veritable forest for the trees. We hate the patients for making more work for us. We especially hate the grossly self-destructive ones who don't deserve our sweat and society's money. — Mikkael A. Sekeres

A brilliant inquiry into the contemporary Iranian predicament and what it means for the world. At a time when all too many of our leading thinkers are mired in the weeds of provincialism and narrow ideological wars, Postel has written a work of grace, intelligence, and towering integrity. Reading 'Legitimation Crisis' in Tehran is nothing less than a masterpiece of moral and political criticism. — Afshin Molavi

The text is not inserted into a genetic process in which it is understood as emerging from this or that prior moment of form or style; nor is it 'extrinsically' related to some ground or context which is at least initially given as something lying beyond it. Rather, the data of the work are interrogated in terms of their formal and logical and, most particularly, their semantic conditions of possibility. — Fredric Jameson

The important thing to me is that I'm not driven by people's praise and I'm not slowed down by people's criticism. I'm just trying to work at the highest level I can. — Russell Crowe

The sixties began what many admirers of Eliot would consider a bleak period. The anxiety of influence of the profession at large seemed to inspire quick and increasingly uninformed dismissals of Eliot, and these repeated denigrations produced, predictably, a generation of students with vague and inaccurate impressions about his poetry and ideas. But there is a bright side to Eliot studies of the last quarter century. The general retreat from Eliot coincided with the beginning of basic and important work on his ideas, especially on his early philosophical writings. — Jewel Spears Brooker

When we refuse to work with our disappointment, we break the Precepts: rather than experience the disappointment, we resort to anger, greed, gossip, criticism. Yet it's the moment of being that disappointment which is fruitful; and, if we are not willing to do that, at least we should notice that we are not willing. The moment of disappointment in life is an incomparable gift that we receive many times a day if we're alert. This gift is always present in anyone's life, that moment when 'It's not the way I want it! — Charlotte Joko Beck

When I write provocative social and cultural criticism that causes readers to stretch their minds, to think beyond set paradigms, I think of that work as love in action. While it may challenge, disturb and at times even frighten or enrage readers, love is always the place where I begin and end. — Bell Hooks

Beauty surrounds us, but oftentimes it takes a person with a poetic perception, an artist's way of looking at the world, to first notice the sublime, and then stagecraft the splendor of nature so that other people can perceive their synoptic vision. The spirit and aesthetic intention behind the work is what assigns the work its artistic quality. Great works of poetry and writing, for instance, express not simply a criticism of life, but also encompass a philosophy for living. — Kilroy J. Oldster

I only accept and pay attention to feedback from people who are also in the arena. If you're occasionally getting your butt kicked as you respond, and if you're also figuring out how to stay open to feedback without getting pummeled by insults, I'm more likely to pay attention to your thought about my work. If, on the other hand, you're not helping, contributing, or wrestling with your own gremlins, I'm not at all interested in your commentary. — Brene Brown

Writing will never be perfect in a poet's eye that is why we need people's criticism good or bad, whether or not it gives a positive or negative frame to our work. We are first at hand to fight against the real and the normal in our writing as our outspoken, brimming voice bring truths to light so vividly and intensely for mass consumption that we so long for in our hearts. When the poet, not jubilant, neither spirited, allows his mind to quiet, allows the survival of and realises that all figures of speech matters; when God has witnessed the culmination of his progress; when the writer is almost in a hypnotic stance. Then the poet cannot stop himself when he is in the right place, then he can guess at the intensity, the prowess of his pen, his prolific writing and the intelligence behind his words becomes a self portrait kind of like what Vincent van Gogh used to do when he was depressed and lonely, fighting against the feelings of isolation and rejection by the establishment. — Abigail George

Speaking specifically about the memoir, I know that's a criticism that people can have about my work. When I look at the young men's lives, if they're reduced to the worst thing they've done, then it's easy for them to become a stereotype. I keep running into that with newspaper articles that are very short. — Jesmyn Ward

I always have done work on mythic relations since I started writing. I really want to be a novelist, or at least a writer of imaginative work ... I do try to make my critical studies imaginative and try to write them in ways that are more like literature than philosophy, but I have disappointed myself because I am still so wedded to criticism. — Marina Warner

The professional gives an ear to criticism, seeking to learn and grow. But she never forgets that Resistance is using criticism against her on a far more diabolical level. Resistance enlists criticism to reinforce the fifth column of fear already at work inside the artist's head, seeking to break her will and crack her dedication. The professional does not fall for this. Her resolution, before all others, remains: No matter what, I will never let Resistance beat me. — Steven Pressfield

Feedback doesn't tell you about yourself. It tells you about the person giving the feedback. In other words, if someone says your work is gorgeous, that just tells you about *their* taste. If you put out a new product and it doesn't sell at all, that tells you something about what your audience does and doesn't want. When we look at praise and criticism as information about the people giving it, we tend to get really curious about the feedback, rather than dejected or defensive. — Tara Mohr

Some ADD adults adapt to the work world by allowing themselves to be pitifully underemployed. Rather than find a great match for their skills and interests, they will work at a job far below their natural abilities. In this way, their inevitable screwups and difficulties with following directions will be balanced by being more capable than those they work with. This strategy has its own set of painful problems. For one thing, knowing you could do and be more can lead to an enduring agony. For another, you may find yourself falling prey to negative feedback from people who aren't as smart as you are. Another strategy ADD adults sometimes adopt is to overcompensate, working inhuman hours to try to avoid possible criticism. It can be shattering when even this strategy doesn't prevent criticism from heading your way, whether from colleagues, bosses, or clients. Another problem with this strategy is that it can take a tremendous toll on your personal relationships. — Lara Honos-Webb

I was amplifying the negative at the expense of the positive, not to serve any useful function, not to make my writing better, but to destroy it. The lizard brain, so attuned to people laughing behind our backs, was on high alert for this sort of criticism and would do anything it could to stop me from writing again. I haven't sought out and read a review or a tweet since. — Seth Godin

It was a happy day for me when that astronaut left the office, but in retrospect, I learned a lot from him. For example, that if you need to make a strong criticism, it's a bad idea to lash out wildly; be surgical, pinpoint the problem rather than attack the person. Never ridicule a colleague, even with an offhand remark, no matter how tempting it is or how hilarious the laugh line. The more senior you are, the greater the impact your flippant comment will have. Don't snap at the people who work with you. When you see red, count to 10. — Chris Hadfield

I had helped him understand that he had lost sight of his personal boundaries. It is natural, I had told him, that one should respond adversely to an attack on one's central core - after all, in that situation one's very survival is at stake. But I had pointed out that Carlos had stretched his personal boundaries to encompass his work and, consequently, he responded to a mild criticism of any aspect of his work as though it were a mortal attack on his central being, a threat to his very survival. I had urged Carlos to differentiate between his core self and other, peripheral attributes or activities. Then he had to "disidentify" with the non-core parts: they might represent what he liked, or did, or valued - but they were not him, not his central being. — Irvin D. Yalom

I'd be at work, where people respected my opinions," said Nick. "And then I'd come home and it was like I was the village idiot. I'd pack the dishwasher the wrong way. I'd pick the wrong clothes for the children. I stopped offering to help. It wasn't worth the criticism. — Liane Moriarty

[When asked if he had ever learned anything about his work from film criticism]
No. To see a film once and write a review is an absurdity. Yet very few critics ever see a film twice or write about films from a leisurely, thoughtful perspective. The reviews that distinguish most critics, unfortunately, are those slambang pans which are easy to write and fun to write and absolutely useless. There's not much in a critic showing off how clever he is at writing silly, supercilious gags about something he hates. — Stanley Kubrick

In light of his criticism, maybe we need to reevaluate Jesus' commendation - and look more closely at our own church and our own lives. The church at Ephesus was a hardworking church, but without the hot fire of love for Christ, their work was simply a performance. The services were well planned, the pews were packed, and the pastor's sermons were polished, but Jesus says, "I miss the love you had at first." He misses the extravagance of love poured out; he misses the spontaneous expressions of praise; he misses the full sacrifice of their hearts. The ministry at the Ephesian church in your neighborhood is very impressive, but Jesus is not pleased. — Douglas Connelly

That's what artists and athletes do day in and day out. Whether you see them at work or not the process is ongoing. They are working to achieve their heart's desire to either enlighten or entertain anyone who cares to watch or listen. Some of them achieve glory but others just do it because they love to and they are driven to.

When something, anything, interferes with that desire, their sense of self is jeopardized and they have to struggle to hang on to their identity. That's the real cost involved in producing a painting, writing a novel, or hitting over .300 for the season. — Richard Marcus

Any criticism at all which depresses you to the extent that you feel you cannot ever write anything worth anything is from the Devil and to subject yourself to it is for you an occasion of sin. In you the talent is there and you are expected to use it. Whether the work itself is completely successful, or whether you ever get any worldly success out of it, is a matter of no concern to you. It is like the Japanese swordsmen who are indifferent to getting slain in the duel. — Flannery O'Connor

Children are accustomed to a continual stream of criticisms and praise, but adults can go weeks without a compliment while enduring criticism both at work and at home. Adults are starved for a kind word. When you understand the power of honest praise (as opposed to bullshitting, flattery, and sucking up), you realize that withholding it borders on immoral. If you see something that impresses you, a decent respect to humanity insists you voice your praise. "Wow. — Scott Adams

Dear Aspiring Writer, you are not ready. Stop. Put that finished story away and start another one. In a month, go back and look at the first story. RE-EDIT it. Then send it to a person you respect in the field who will be hard on you. Pray for many many many red marks. Fix them. Then put it away for two weeks. Work on something else. Finally, edit one last time. Now you are ready to sub your first work.
Criticism is hard to take at first. Trust me, I've been there. But learn to think of crit marks as a knife. Each one is designed to cut away the bad and leave a scar. Scars prove you've lived, learned and walked away a winner. Any writer who tells you they don't need edits is lying. I don't care if they have 100 books out. Edits make you grow and if you aren't growing as a writer, you are dead. — Inez Kelley

One of Eric's most basic rules is sort of a golden rule for management: Make sure you would work for yourself. If you are so bad as a manager that you as a worker would hate working for you, then you have some work to do. The best tool we have found for this is the self-review: At least once per year, write a review of your own performance, then read it and see if you would work for you. And then, share it with the people who do in fact work for you. This will elicit greater insights than the standard 360-degree review process, because when you are initiating criticism of yourself it gives others the freedom to be more honest. — Eric Schmidt

What you get at the BMI Workshop is the rarest commodity in New York City: Friendly criticism; people who genuinely root for you; and a chance to rewrite your work, try it again, and hone your craft. — Maury Yeston

There is a larger lesson here, because the book encompasses not just the lives of prisoners in a Soviet prison camp, but every one of us. Shukhov squeezes everything he can out of a mouthful of soup or a bite of bread ... So frozen that he can't even feel his feet, he trowels cement and lays a cinder block wall with care and patience ... Shukhov takes pride in his work. In fact, even though he is starving, he can barely tear himself away at the end of the long day to go eat. He cares about his work and in that way he remains a man. Isn't this kind of pride and gratitude and ironic detachment valuable for all people? — Eric Bogosian

A man whose identity flows out of deep validation doesn't wilt under criticism. He enjoys applause when it comes but frankly isn't desperate for it. He can walk away from work at five o'clock; he doesn't measure his success by how much money he makes. We grow into this man, to be sure; I'm not setting a new standard of perfection. But what I am describing — John Eldredge

To call for close reading, in fact, is to do more than insist on due attentiveness to the text. It inescapably suggests an attention to this rather than to something else: to the 'words on the page' rather than to the contexts which produced and surround them. It implies a limiting as well as a focusing of concern - a limiting badly needed by literary talk which would ramble comfortably from the texture of Tennyson's language to the length of his beard. But in dispelling such anecdotal irrelevancies, 'close reading' also held at bay a good deal else: it encouraged the illusion that any piece of language, 'literary' or not, can be adequately studied or even understood in isolation. It was the beginnings of a 'reification' of the literary work, the treatment of it as an object in itself, which was to be triumphantly consummated in the American New Criticism. — Terry Eagleton

I'm a piece of work, man. I will do what I want, at all times, always. Nobody's going to persuade me one way or another. I can't be persuaded. I take criticism, I listen, I analyze, but at the end of the day, I make the decisions. Because that's the way I started, and that's the way I'm going to finish. — Action Bronson

To hold our tongues when everyone is gossiping, to smile without hostility at people and institutions, to compensate for the shortage of love in the world with more love in small, private matters; to be more faithful in our work, to show greater patience, to forgo the cheap revenge obtainable from mockery and criticism: all these are things we can do. — Hermann Hesse