Heights Chapter 15 Quotes

Less is more. “A few extremely well-chosen objectives,” Grove wrote, “impart a clear message about what we say ‘yes’ to and what we say ‘no’ to.” A limit of three to five OKRs per cycle leads companies, teams, and individuals to choose what matters most. In general, each objective should be tied to five or fewer key results. (See chapter 4, “Superpower #1: Focus and Commit to Priorities.”) Set goals from the bottom up. To promote engagement, teams and individuals should be encouraged to create roughly half of their own OKRs, in consultation with managers. When all goals are set top-down, motivation is corroded. (See chapter 7, “Superpower #2: Align and Connect for Teamwork.”) No dictating. OKRs are a cooperative social contract to establish priorities and define how progress will be measured. Even after company objectives are closed to debate, their key results continue to be negotiated. Collective agreement is essential to maximum goal achievement. (See chapter 7, “Superpower #2: Align and Connect for Teamwork.”) Stay flexible. If the climate has changed and an objective no longer seems practical or relevant as written, key results can be modified or even discarded mid-cycle. (See chapter 10, “Superpower #3: Track for Accountability.”) Dare to fail. “Output will tend to be greater,” Grove wrote, “when everybody strives for a level of achievement beyond [their] immediate grasp. . . . Such goal-setting is extremely important if what you want is peak performance from yourself and your subordinates.” While certain operational objectives must be met in full, aspirational OKRs should be uncomfortable and possibly unattainable. “Stretched goals,” as Grove called them, push organizations to new heights. (See chapter 12, “Superpower #4: Stretch for Amazing.”) A tool, not a weapon. The OKR system, Grove wrote, “is meant to pace a person—to put a stopwatch in his own hand so he can gauge his own performance. It is not a legal document upon which to base a performance review.” To encourage risk taking and prevent sandbagging, OKRs and bonuses are best kept separate. (See chapter 15, “Continuous Performance Management: OKRs and CFRs.”) Be patient; be resolute. Every process requires trial and error. As Grove told his iOPEC students, Intel “stumbled a lot of times” after adopting OKRs: “We didn’t fully understand the principal purpose of it. And we are kind of doing better with it as time goes on.” An organization may need up to four or five quarterly cycles to fully embrace the system, and even more than that to build mature goal muscle.

From ‘Kokor Hekkus the Killing Machine’, Chapter IV of The Demon Princes, by Caril Carphen (Elucidarian Press, New Wexford, Aloysius, Vega): If Malagate the Woe can be characterized by the single word ‘grim’ and Howard Alan Treesong by ‘incomprehensible’, then Lens Larque, Viole Falushe and Kokor Hekkus all lay claim to the word ‘fantastic’. Which one exceeds the other two in ‘fantasy’? It is an amusing if profitless speculation. Consider Viole Falushe’s Palace of Love, Lens Larque’s monument, the vast and incredible outrages Kokor Hekkus has visited upon humanity: such extravagances are impossible to comprehend, let alone compare. It is fair to say, however, that Kokor Hekkus has captured the popular imagination with his grotesque and eerie humor. Let us listen to what he has to say in an abstract from the famous telephoned address, The Theory and Practice of Terror, to the students of Cervantes University: “… To produce the maximum effect, one must identify and intensify those basic dreads already existing within the subject. It is a mistake to regard the fear of death as the most extreme fear. I find a dozen other types to be more poignant, such as: The fear of inability to protect a cherished dependent. The fear of disesteem. The fear of noisome contact. The fear of being made afraid. “My goal is to produce a ‘nightmare’ quality of fright, and to maintain it over an appreciable duration. A nightmare is the result of the under-mind exploring its most sensitive areas, and so serves as an index for the operator. Once an apparently sensitive area is located the operator to the best of his ingenuity employs means to emphasize, to dramatize this fear, then augment it by orders of magnitude. If the subject fears heights, the operator takes him to the base of a tall cliff, attaches him to a slender, obviously fragile or frayed cord and slowly raises him up the face of the cliff, not too far and not too close to the face. Scale must be emphasized, together with the tantalizing but infeasible possibility of clinging to the vertical surface. The lifting mechanism should be arranged to falter and jerk. To intensify claustrophobic dread the subject is conveyed into a pit or excavation, inserted head-foremost into a narrow and constricted tunnel which slants downward, and occasionally changes direction by sharp and cramping angles. Whereupon the pit or excavation is filled and subject must proceed ahead, for the most part in a downward direction.