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Parents try to protect children from distressing realities, such as illness, death or divorce. But if you don’t talk to them about the difficult stuff, they worry alone …
About a decade ago, a friend I knew and cared about deeply told me that she was having an affair with her child’s best friend’s father. “My God,” I said, swallowing hard. “That’s complicated.”
It was complicated all right. The families lived practically next door and were in and out of each other’s houses all the time. But neither marriage was good. And my friend swore that this was the real thing.
The problem was her daughter. She worshipped her mum, watched her like a hawk. And though she was only six, she was one of those strange, precocious children who gets inside adult heads and roams around, looking for stuff. Like the fact that her mother was madly in love with someone other than her dad.
“You can’t keep lying to her,” I said.
“No, no,” she assured me. “It’s not a problem. She doesn’t suspect a thing.”
I looked at her. “She knows. She doesn’t know what she knows, but she knows.”
And she did. If ever a child knew something was wrong with her family, it was Evie. She had developed a heartbreaking look of puzzlement in the company of her mother, searching her face for answers.
I notice those children now, the ones people lie to. Like all children, they are studying the world, struggling to learn the rules of engagement. Except that, for them, life doesn’t make sense because their instincts are negated. So they begin to twist in an attempt to accommodate a world full of half-truths.
An American woman visiting friends in London a few days after the school massacre in December 2012 in Newtown, Connecticut, asked the friend’s family (two adults, three teenagers) not to refer to Newtown for the duration of their visit and not to turn on the news in case her children might overhear distressing stories. “We’re going to talk to them about it when we feel they can handle it,” she said. Her children were 13 and nine.
I know about lies because at an important juncture in my own family life, my husband and I did not tell our daughter the whole truth, with difficult and enduring consequences.
I had recently been diagnosed with breast cancer, a disease that killed my youngest sister and for which my middle sister had just finished treatment. My daughter, Gloria, was seven. “I have cancer. But don’t worry, it’ll be fine,” we told her, failing to take into account her presence at my sister’s funeral a few years earlier. My husband and I didn’t say much more. Gloria didn’t ask any questions. To be honest, we were relieved. It was not at all definite that I would survive, and that’s not a conversation you want to have with a child. I didn’t even have it with my husband.
I went to hospital. And my daughter observed quietly when I returned, post-surgery, with a drain, stitches and bloody bandages, unable to lift my arm more than a few inches.
A week later, there was a second operation, followed by chemotherapy. I looked and felt awful.
It was about six months later that I realised two things. First, that although we’d been all jolly and casual at home about my illness, the other people in her life – her teachers and friends’ parents – were, quite innocently, showing nakedly shocked faces. “I hear your mother has cancer,” they whispered in voices that expressed to a sentient seven-year-old that something very awful indeed was going on. In addition, by not explaining the situation properly, we somehow neglected to make it clear that I was so ill because of the treatment rather than the disease. That was enormous.
Think about it. She heard I had cancer. Within days I was hospitalised. I went bald, lost weight, looked sick and exhausted, my right arm was covered with streaky bruises from the intravenous infusions. She had seen my sister in a similar condition a few months before she died.
Gloria, logically, thought that I was dying.
My husband and I didn’t set out to lie, but we certainly didn’t tell the whole truth. We didn’t tell because she didn’t ask. She didn’t ask because she sensed that it was a difficult subject.
Yet “protecting her” from what was going on turned out to be a gross underestimation of our child’s ability to measure atmosphere, to absorb pain and doubt and worry and convert it into a perfectly reasonable (but wrong) explanation.
Over the next decade, I learned that lies of omission can have consequences as devastating as “real” lies, the ones where you decide not to tell a child he’s adopted or that her sister is really her mother.
During those years, my bold, confident daughter became fearful. She began to experience night terrors, strange waking states in which she’d seem unable to connect and I’d be unable to console her. She became frightened of the dark, frightened of going to sleep, terrified of being the last person awake in the house.
Nowadays, as a writer of books for children and teenagers, I meet a lot of kids between 12 and 18 when I go into schools to talk about books. In those sessions, I started asking what frightened them. Spiders, they said, or death. Or someone close dying. “What about being the last person awake in the house?” I asked. And the reaction of the majority astonished me.
“That’s really scary,” they said.
It’s scary, I discovered, because it means you’re responsible. There’s no adult to help if a burglar comes in, or a monster; if there’s an emergency. It resonates with a bigger fear, the fear that adults won’t always be around to protect you. That your parents will die. That you, someday, will die.
I have no hard evidence that Gloria suffered so badly, and for so long, because of our failure to be more open with her about my cancer. But she remembers being very frightened when I went to hospital, not knowing if I’d come back. And she kept the terror to herself.
There are nights at the theatre you never forget, and one of them was a production of Ibsen’s Ghosts at the National with a then unknown (to me) actor called Simon Russell Beale. He played Oswald, whose father has died of syphilis after a life of alcoholism and debauchery. In the play, his mother sends Oswald away so he won’t ever know the truth about his father, and, particularly, so that he won’t ever follow the same path.
And yet he does. Ghosts always reads to me as a play about the futility of attempting to suppress difficult truths – how it does the opposite of rendering them powerless. The unsaid festers and grows until it infects everyone with poison, or in the case of Oswald and his father, syphilis.
I asked a counsellor who works at Great Ormond Street hospital with young transplant patients how he handles talking to very ill children and traumatised families.
“There are parents who can’t even bear to tell a child he’ll be operated on the next day,” he said. “And that’s really damaging. They think they’re protecting the child, but what they’re really doing is protecting themselves from their own appalling fear of loss.”
Parental fear underlies a great deal of the dishonesty perpetrated in the name of protecting children. I couldn’t survive if something happened to you so I must protect you at all costs, parents think. That’s not about the child, it’s about the parent.
I once wrote about teen suicide, and a lovely, articulate teenage girl emailed in response, saying she understood what it felt like to self harm and attempt suicide. She did both on a regular basis. “Have you talked to your parents?” I asked.
“I tried to tell my mother,” she said, “but she started to cry. She’s been under a lot of pressure with my depression and I don’t want to upset her more.”
Lies lead to more lies. The child who senses that the parent can’t cope with her vulnerability will hide the truth. Which leads to a situation in which communication shuts down altogether. Not that the pain of children can always be solved. It can’t. Any more than it can for adults. But the cases that chill me to the marrow are the “happy, well-adjusted” children who suddenly hang themselves, leaving desperate messages behind. What’s hidden will grow into a monster.
There is a theory that children’s literature should uphold the idyll of childhood, offering charming scenarios and happy endings to protect the innocent from life’s harsh realities. But children have extraordinary antennae for the things no one will explain. If a child has enough imagination to conjure dragons and monsters under the bed, he has enough imagination to figure out that something adults won’t talk about must be truly terrifying. Sex, for instance, divorce or death. And that’s where literature can help – by exploring the scary stuff with insight and, on a good day, wisdom.
Gloria’s wonderful primary school headteacher once told me that at about age seven to nine, kids start to change, emotionally. They start to separate from their parents, start thinking about death, worrying about being grown up. When I was about that age, I lay in bed, night after night, frozen with terror at the concept of eternal nothingness. I told no one, so no one told me that it’s possible to combat the fear of death with a life well-lived, that death can be a relief and a release, not just a terrifying conclusion.
If you don’t talk to kids about the difficult stuff, they worry alone.
I wish we’d talked to my daughter about my cancer. She was young, but she wasn’t stupid. It took a very long time for her to lose her fear of the dark, of being awake when all the grownups are asleep. Sixteen now, she’s wonderfully independent, funny, thoughtful and brave. Do you ever think about me having cancer? I ask her now. Does it ever worry you? “Not really,” she says. “But I worry about getting cancer myself.” That, given our family history, is perfectly reasonable.
And what about Evie and her mother? My friend came out with the truth soon after we spoke. Both couples have since divorced, both sets of children travel between the various families and everyone involved seems to have reconciled with reasonable equanimity to the change.
Give a child an unpalatable truth and she will figure out a way to process it. But “protect” her and the ghosts will whisper in her ear.
Selecting new furniture for your office may not be the toughest task on your long list of things to do, but if you think it’s just a case of ordering the first things you come across that seem to fit the bill; you may be missing a trick. The furniture in an office can have a big impact on the way that everyone works and the wrong kind of equipment could cause problems in the future.
So whether you’re refurbishing your office or just looking for a few items that will improve your working environment; what should you be thinking about?
Comfort should be high up on the list when purchasing any type of furniture and it is no different in the office environment. The last thing you want is for your workers to be complaining that they are not comfortable as this could possibly lead to health issues in the future and may mean people are off work for some time.
You also need to think about your clients and the fact that they could possibly be using the furniture at some point. If they end up sitting on an uncomfortable chair then it could reflect badly on your company and it may even put them off doing business with you.
It’s not just chairs that need to be comfortable either. Things like desks and tables still need to be ergonomic so that they are easy to use.
You may not think it but office furniture can have a great impact on the productivity of your staff. Not just because uncomfortable furniture will mean they are less likely to be able to concentrate but there are also issues of practicality. Will chairs with wheels on mean that your staff are constantly fidgeting or will it mean they can communicate better with people from other areas of the office?
It’s also important to think about productivity when selecting storage options. If it’s easy to store things and access them when needed then less time will be wasted searching through cupboards and cabinets to find what you are looking for.
You may only have a few employees working for you at the moment but it is important to think about how you are going to grow as a business when conducting your office refit or refurbishment. It may work out cheaper to buy desks and chairs in bulk now rather than just buying a few for now and then purchasing them singularly as and when more people join the company.
You should also think about how technology is going to affect your working environment in the future. Things change quickly in the technology world and so you may need to make arrangements for future develops. For example, will you be incorporating video conferencing in the future? Thinking ahead will mean you are better prepared for your company’s impending expansion.
Space Planning –
How you arrange your office can have a big impact on the general atmosphere and productivity of the workplace. Therefore when you are choosing pieces of office furniture you should be aware of exactly how much free space you have and exactly where things will be going when they arrive. Over filling your office with equipment could lead to a crammed working environment which will not prove fruitful at all.
Hygiene is important in any workplace and so you need to take into account the type of material your furniture is made from. Something that shows stains and that isn’t easy to clean may not be the best choice in an environment where cleanliness is a priority.
Chris Mayhew works within an office environment and understands how important furniture can be to the dynamics of a workplace. He would recommend that anyone looking to fit out their office visits the Premier Office Solutions website.
Every business owner knows that marketing is crucial to the success of your business. However, like most business owners in today’s tight economy, marketing budgets are smaller than desired, and what you do purchase must have a real impact on the potential client. Selecting marketing material that will set your business, service or product apart is what will give you an advantage over your competitors. It must be something memorable, it must be something colorful, and it must be something affordable.
The 4×6 Inch Card
One of the most effective and affordable marketing tools available are 4×6-sized cards. These postcards, created in full color and printed on a very high quality stock, can be used to pass out to potential clients in place of a business card, mailed out to potential clients, or used as a insert in local newsletters and publications.
The larger format cards can be designed to include pictures of your business, your product or the effects of your service. Offering so much more space and creative potential than a business card, they have multiple uses.
The Possibilities Are Endless
Every kind of business can benefit from these marketing tools. Photographers and art galleries can create beautiful postal sized cards to showcase works of art that are available or important gallery openings. Real estate companies can use them to promote their office or their sales reps. Retail centers can create beautiful 4×6 cards to distribute to promote special sales or new inventory.
The Results Are Fabulous
Standard business cards are a great reminder for people that want to use you for business in the future. However, postal-sized cards give the potential client a visual of what to expect from your company and it stimulates all of their senses. When their senses are stimulated, as any good marketing professional knows, people are more likely to react positively with a purchase because they want to fill the desire they have created within themselves for the product or service.
Better Marketing Budgets
From the financial aspect of marketing, mailing cards create a way for businesses to reach a large amount of people with a very limited cost. All businesses need to watch their advertising budgets, and using 4×6 cards can help these businesses meet these goals.
Postal cards can be printed in any quantity, with large amounts receiving better prices. Because they are easy to design and simple to produce, they can also be changed often to continue to meet the needs of the business. Once you have created a card, you are not “stuck” with that design. You are free to change it as often as necessary so that you always have the highest results from your efforts.
All businesses from every industry can and will benefit from using 4×6 cards to market their business. In fact, once you see the incredible results you receive from this marketing tool, you may wonder how you were ever successful without them.
Using postcards to help advertise her own art business, Ann Bailey relays these marketing tips for other small business owners. The online ordering company, Signazon(dot)com, offers easy set-up and design templates for quick card design, and takes care of all production so your company’s professional 4×6 advertising cards come ready to mail.
Photo Credit: http://www.flickr.com/photos/familymwr/5548053540/