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There's always a moment when you start to fall out of love, whether it's with a person or an idea or a cause, even if it's one you only narrate to yourself years after the event: a tiny thing, a wrong word, a false note, which means that things can never be quite the same again.
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heartbreak
love
moment
narrative
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Douglas Adams |
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No word matters. But man forgets reality and remembers words.
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history
humanity
memory
narrative
reality
semiotics
story
truthful
words
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Roger Zelazny |
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To read fiction means to play a game by which we give sense to the immensity of things that happened, are happening, or will happen in the actual world. By reading narrative, we escape the anxiety that attacks us when we try to say something true about the world. This is the consoling function of narrative -- the reason people tell stories, and have told stories from the beginning of time.
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escape
escapism
fiction
interpretation
narrative
reading
real-world
storytelling
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Umberto Eco |
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Truth for anyone is a very complex thing. For a writer, what you leave out says as much as those things you include. What lies beyond the margin of the text? The photographer frames the shot; writers frame their world. Mrs Winterson objected to what I had put in, but it seemed to me that what I had left out was the story's silent twin. There are so many things that we can't say, because they are too painful. We hope that the things we can say will soothe the rest, or appease it in some way. Stories are compensatory. The world is unfair, unjust, unknowable, out of control. When we tell a story we exercise control, but in such a way as to leave a gap, an opening. It is a version, but never the final one. And perhaps we hope that the silences will be heard by someone else, and the story can continue, can be retold. When we write we offer the silence as much as the story. Words are the part of silence that can be spoken. Mrs Winterson would have preferred it if I had been silent. Do you remember the story of Philomel who is raped and then has her tongue ripped out by the rapist so that she can never tell? I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words. I needed words because unhappy families are conspiracies of silence. The one who breaks the silence is never forgiven. He or she has to learn to forgive him or herself.
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narrative
silence
storytelling
trauma
truth
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Jeanette Winterson |
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The Princess Bride S. Morgenstern's Classic Tale of True Love and High Adventure You had to admire a guy who called his own new book a classic before it was published and anyone had a chance to read it.
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authors
funny
high-expectations
narrative
princess-bride
william-goldman
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William Goldman |
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Very young children love and demand stories, and can understand complex matters presented as stories, when their powers of comprehending general concepts, paradigms, are almost nonexistent.
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fiction
narrative
stories
storytelling
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Oliver Sacks |
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Jesus was not a theologian. He was God who told stories.
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jesus
narrative
story
theology
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Madeleine L'Engle |
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Reading a novel after reading semiotic theory was like jogging empty-handed after jogging with hand weights. What exquisite guilt she felt, wickedly enjoying narrative! Madeleine felt safe with a nineteenth century novel. There were going to be people in it. Something was going to happen to them in a place resembling the world. Then too there were lots of weddings in Wharton and Austen. There were all kinds of irresistible gloomy men.
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literary-criticism
literary-theory
narrative
nineteenth-century
novels
plot
postmodernism
reading
semiotics
victorians
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Jeffrey Eugenides |
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What other species now require of us is our attention. Otherwise, we are entering a narrative of disappearing intelligences.
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disappearance
intelligence
language
narrative
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Terry Tempest Williams |
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I think one is naturally impressed by anything having a beginning a middle and an ending when one is beginning writing and that it is a natural thing because when one is emerging from adolescence, which is really when one first begins writing one feels that one would not have been one emerging from adolescence if there had not been a beginning and a middle and an ending to anything.
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gertrude-stein
narration
narrative
writing
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Gertrude Stein |
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You can't love someone without imaginative sympathy, without beginning to see the world from another point of view. You can't be a good lover, a good artist or a good politician without this capacity (you can get away with it, but that's not what I mean). Show me the tyrants who have been great lovers.
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empathy-psychology
narrative
narratology
stories
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Julian Barnes |
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In the end I began to understand. There is such a thing as absolute power over narrative. Those who secure this privilege for themselves can arrange stories about others pretty much where, and as, they like. Just as in corrupt, totalitarian regimes, those who exercise power over others can do anything.
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corruption
imperialism
narrative
power
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Chinua Achebe |
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"The most powerful words in English are, "Tell me a story."
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imagination
narrative
storytelling
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Pat Conroy |
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The baby explodes into an unknown world that is only knowable through some kind of a story - of course that is how we all live, it's the narrative of our lives, but adoption drops you into the story after it has started. It's like reading a book with the first few pages missing. It's like arriving after curtain up. The feeling that something is missing never, ever leaves you - and it can't, and it shouldn't, because something IS missing. That isn't of its nature negative. The missing part, the missing past, can be an opening, not a void. It can be an entry as well as an exit. It is the fossil record, the imprint of another life, and although you can never have that life, your fingers trace the space where it might have been, and your fingers learn a kind of Braille.
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birth
life
longing-for-death
narrative
nostalgia
opening
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Jeanette Winterson |
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The power of music, narrative and drama is of the greatest practical and theoretical importance. One may see this even in the case of idiots, with IQs below 20 and the extremest motor incompetence and bewilderment. Their uncouth movements may disappear in a moment with music and dancing--suddenly, with music, they know how to move. We see how the retarded, unable to perform fairly simple tasks involving perhaps four or five movements or procedures in sequence, can do these perfectly if they work to music--the sequence of movements they cannot hold as schemes being perfectly holdable as music, i.e. embedded in music. The same may be seen, very dramatically, in patients with severe frontal lobe damage and apraxia--an inability to do things, to retain the simplest motor sequences and programmes, even to walk, despite perfectly preserved intelligence in all other ways. This procedural defect, or motor idiocy, as one might call it, which completely defeats any ordinary system of rehabilitative instruction, vanishes at once if music is the instructor. All this, no doubt, is the rationale, or one of the rationales, of work songs.
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essential
music
narrative
therapy
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Oliver Sacks |
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Truth for anyone is a very complex thing. For a writer, what you leave out says as much as those things you include. What lies beyond the margin of the text? The photographer frames the shot; writers frame their world.
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narrative
trust
unspoken
writer
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Jeanette Winterson |
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"The opposite of a correct statement is an incorrect statement. The opposite of a profound truth is another profound truth (Niels Bohr)." By this, he means that we require a larger reading of the human past, of our relations with each other, the universe and God, a retelling of our older tales to encompass many truths and to let us grow with change."
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narrative
past
physics
truth
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Neil Postman |
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That thing we call a place is the intersection of many changing forces passing through, whirling around, mixing, dissolving, and exploding in a fixed location. To write about a place is to acknowledge that phenomena often treated separately--ecology, democracy, culture, storytelling, urban design, individual life histories and collective endeavors--coexist. They coexist geographically, spatially, in place, and to understand a place is to engage with braided narratives and sue generous explorations.
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narrative
place
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Rebecca Solnit |
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I don't know why I told this story. I could just as well have told another. Perhaps some other time I'll be able to tell another. Living souls, you will see how alike they are.
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arbitrariness
narrative
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Samuel Beckett |
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All men needed to hear their stories told. He was a man, but if he died without telling the story he would be something less than that, an albino cockroach, a louse. The dungeon did not udnerstand the idea of as tory. The dungeon was static, eternal, black and a story needed motion adn tiem and light. He felt his story slipping away from him, beocming inconsequential, ceasing to be. He has no story. There was no story. He was not a man. There was no man here. There was only the dungeon, and the slithering dark.
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medical-humanities
narrative
story
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Salman Rushdie |
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All plots tend to move deathward. This is the nature of plots. Political plots, terrorist plots, lovers' plots, narrative plots, plots that are part of children's games. We edge nearer death every time we plot. It is like a contract that all must sign, the plotters as well as those who are the targets of the plot.
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don-delillo
love
narrative
plots
plotting
politics
terrorism
white-noise
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Don DeLillo |
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"It might be most dramatically effective to begin the tale at the moment when Arnold Baffin rang me up and said, "Bradley, could you come round here please, I think I have just killed my wife."
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dramatic
iris-murdoch
meta
narrative
narrator
opening
storytelling
the-black-prince
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Iris Murdoch |
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Christianity tells a big story. It allows us to see our own story in a new way.
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narrative
regeneration
renewal
story-telling
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Alister E. McGrath |
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By calling into question the very ideal of a universal, autonomous reason (which was, in the Enlightenment, the basis for rejecting religious thought) and further demonstrating that all knowledge is grounded in narrative or myth, Lyotard relativizes (secular) philosophy's claim to autonomy and so grants the legitimacy of a philosophy that grounds itself in Christian faith. Previously such a distinctly Christian philosophy would have been exiled from the 'pure' arena of philosophy because of its 'infection' with bias and prejudice. Lyotard's critique, however, demonstrates that no philosophy - indeed, no knowledge - is untainted by prejudice or faith commitments. In this way the playing field is leveled, and new opportunities to voice a Christian philosophy are created. Thus Lyotard's postmodern critique of metanarratives, rather than being a formidable foe of Christian faith and thought, can in fact be enlisted as an ally in the construction of a Christian philosophy.
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christianity
knowledge
lyotard
metanarrative
narrative
objectivity
philosophy
prejudice
the-enlightenment
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James K.A. Smith |
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Discipline is aimed at formation for a specific end, and that end is determined by our founding narrative.
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narrative
worldview
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James K.A. Smith |
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My thought is me: that's why I can't stop. I exist because I think...and I can't stop myself from thinking. At this very moment, it's frightful, if I exist, it is because I am horrified at existing. I am the one who pulls myself from the nothingness to which I aspire: the hatred, the disgust of existing, there are as many ways to make myself exist, to thrust myself into existence. Thoughts are born at the back of me, like sudden giddiness, I feel them being born behind my head...if I yield, they're going to come round in front of me, between my eyes, and I always yield, the thought grows and grows and there it is, immense, filling me completely and renewing my existence.
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narrative
philosophical
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Jean-Paul Sartre |
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"Henry Luce to his Time magazine writers: "Tell the history of our time through the people who make it."
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leadership
motivation
narrative
storytelling
writing
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Walter Isaacson |
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Through history it's the novelist who has felt affinity for the violent man who lives in the dark. Where are your sympathies? With the colonial police, the occupier, the rich landlord, the corrupt government, the militaristic state? Or with the terrorist?
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narrative
novelization
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Don DeLillo |
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Stories were heirlooms in these parts.
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inspiration
leadership
legacy
motivation
narrative
parenthood
storytelling
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Robert Kurson |
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Then the front doorbell (already too long delayed by my rambling narrative) rang.
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iris-murdoch
meta
narrative
narrator
self-deprecating
the-black-prince
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Iris Murdoch |
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There will always be reservations, things one must leave out, events one can't explain without handing over a full map of one's life, unfolding it, making clear that all the lines and contours stand for long days and nights when things were bad or good, or when things were too small to be described at all: when things just were. This is a life.
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narrative
storytelling
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Colm Tóibín |
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New families, like young nations after violent wars of independence or social revolutions, perhaps need to anchor their beginnings in a symbolic moment and nail that instant in time.
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narrative
story
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Valeria Luiselli |
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Agora penso que e verdade, como se costuma dizer - disse Mahamut -, que o que a gente sabe sentir sabe dizer, mesmo que algumas vezes a emocao emudeca a lingua.
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experience
narrative
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Miguel de Cervantes Saavedra |
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Arguments, speculation-- conspiracy theories of all kind. The usual thing, right? No one is ever simply assassinated any more. Ever since your Kennedys, it is always a matter of how many stories you can invent to explain the same body of facts. That is the great pleasure of conspiracy theory--not explanation, but narrative. It is like Scheherazade.
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conspiracy-theories
facts
narrative
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Kim Stanley Robinson |
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Agora penso que e verdad, como se costuma dizer - disse Mahamut -, que o que a gente sabe sentir sabe dizer, mesmo que algumas vezes a emocao emudeca a lingua.
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experience
narrative
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Miguel de Cervantes Saavedra |
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A story is nothing more than a reproduction of the order of the world on a purely verbal scale. A replica of life, if life consisted of words. But life does not consist just of words. Unfortunately, it is also made up of bodies or, in other words, of disease, pain and death.
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narrative
story
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Ricardo Piglia |
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Lewis wanted us to understand that the inner world is shaped by stories.
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narrative
thought-life
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Alister E. McGrath |