Narratives Quotes

“The true secret in being a hero lies in knowing the order of things. The swineherd cannot already be wed to the princess when he embarks on his adventures, nor can the boy knock on the witch's door when she is already away on vacation. The wicked uncle cannot be found out and foiled before he does something wicked. Things must happen when it is time for them to happen. Quests may not simply be abandoned; prophecies may not be left to rot like unpicked fruit; unicorns may go unrescued for a very long time, but not forever. The happy ending cannot come in the middle of the story.”
― Peter S. Beagle, The Last Unicorn

“Our dreams and stories may contain implicit aspects of our lives even without our awareness. In fact, storytelling may be a primary way in which we can linguistically communicate to others—as well as to ourselves—the sometimes hidden contents of our implicitly remembering minds. Stories make available perspectives on the emotional themes of our implicit memory that may otherwise be consciously unavailable to us. This may be one reason why journal writing and intimate communication with others, which are so often narrative processes, have such powerful organizing effects on the mind: They allow us to modulate our emotions and make sense of the world.”
― Daniel J. Siegel, The Developing Mind: How Relationships and the Brain Interact to Shape Who We Are

“A tale may have exactly three beginnings: one for the audience, one for the artist, and one for the poor bastard who has to live in it.”
― Catherynne M. Valente, Radiance

“...while epic fantasy is based on the fairy tale of the just war, that’s not one you’ll find in Grimm or Disney, and most will never recognize the shape of it. I think the fantasy genre pitches its tent in the medieval campground for the very reason that we even bother to write stories about things that never happened in the first place: because it says something subtle and true about our own world, something it is difficult to say straight out, with a straight face. Something you need tools to say, you need cheat codes for the human brain--a candy princess or a sugar-coated unicorn to wash down the sour taste of how bad things can really get.

See, I think our culture has a slash running through the middle of it, too. Past/Future, Conservative/Liberal, Online/Offline. Virgin/Whore. And yes: Classical/Medieval. I think we’re torn between the Classical Narrative of Self and the Medieval Narrative of Self, between the choice of Achilles and Keep Calm and Carry On.

The Classical internal monologue goes like this: do anything, anything, only don’t be forgotten. Yes, this one sacrificed his daughter on a slab at Aulis, that one married his mother and tore out his eyes, and oh that guy ate his kids in a pie. But you remember their names, don’t you? So it’s all good in the end. Give a Greek soul a choice between a short life full of glory and a name echoing down the halls of time and a long, gentle life full of children and a quiet sort of virtue, and he’ll always go down in flames. That’s what the Iliad is all about, and the Odyssey too. When you get to Hades, you gotta have a story to tell, because the rest of eternity is just forgetting and hoping some mortal shows up on a quest and lets you drink blood from a bowl so you can remember who you were for one hour.

And every bit of cultural narrative in America says that we are all Odysseus, we are all Agamemnon, all Atreus, all Achilles. That we as a nation made that choice and chose glory and personal valor, and woe betide any inconvenient “other people” who get in our way. We tell the tales around the campfire of men who came from nothing to run dotcom empires, of a million dollars made overnight, of an actress marrying a prince from Monaco, of athletes and stars and artists and cowboys and gangsters and bootleggers and talk show hosts who hitched up their bootstraps and bent the world to their will. Whose names you all know. And we say: that can be each and every one of us and if it isn’t, it’s your fault. You didn’t have the excellence for it. You didn’t work hard enough. The story wasn’t about you, and the only good stories are the kind that have big, unignorable, undeniable heroes.”
― Catherynne M. Valente

“We were all trapped in stories, she said, just as he used to say, his wavy hair, his naughty smile, his beautiful mind, each of us the prisoner of our own solipsistic narrative, each family the captive of the family story, each community locked within its own tale of itself, each people the victims of their own versions of history, and there were parts of the world where the narratives collided and went to war, where there were two or more incompatible stories fighting for space on, to speak, the same page. She came from one such place, his place, from which he had been forever displaced, they exiled his body but his spirit, never. And maybe now every place was becoming that place, maybe Lebanon was everywhere and nowhere, so that we were all exiles, even if our hair wasn't so wavy, our smiles not so naughty, our minds less beautiful, even the name Lebanon wasn't necessary, the name of every place or any place would do just as well, maybe that's why she felt nameless, unnamed, unnameable, Lebanonymous.”
― Salman Rushdie, Two Years Eight Months and Twenty-Eight Nights

“You are a born storyteller," said the old lady. "You had the sense to see you were caught in a story, and the sense to see that you could change it to another one.”
― A.S. Byatt, The Djinn in the Nightingale's Eye: Five Fairy Stories

“But I do earnestly desire to arouse the women of the North to a realizing sense of the condition of two millions of women at the South, still in bondage, suffering what I suffered, and most of them far worse. I want to add my testimony to that of abler pens to convince the people of the Free States what Slavery really is. Only by experience can any one realize how deep, and dark, and foul is that pit of abominations.”
― Harriet Ann Jacobs, Incidents in the Life of a Slave Girl

“The average novel invariably reads like a detective's report. It is drab and tedious because it is never objective.”
― Natsume Soseki, The Three-Cornered World

“Context is everything in both narrative and real life, and while the accusation is never that these creators deliberately set out to discriminate against gay and female characters, the unavoidable implication is that they should have known better than to add to the sum total of those stories which, en masse, do exactly that. And if the listmakers can identify the trend so thoroughly – if, despite all the individual qualifications, protests and contextualisations of the authors, these problems can still be said to exist – then the onus, however disconnected from the work of any one individual, nonetheless falls to those individuals, in their role as cultural creators, to acknowledge the problem; to do better next time; perhaps even to apologise. This last is a particular sticking point. By and large, human beings tend not to volunteer apologies for things they perceive to be the fault of other people, for the simple reason that apology connotes guilt, and how can we feel guilty – or rather, why should we – if we’re not the ones at fault? But while we might argue over who broke a vase, the vase itself is still broken, and will remain so, its shards ground into the carpet, until
someone decides to clean it up.

Blog Post: Love Team Freezer”
― Foz Meadows

“I discovered everywhere female automations created by men. There was nothing of ourselves, and the little there was that rose up in protest immediately became material for their manufacturing.”
― Elena Ferrante, Those Who Leave and Those Who Stay

“When these red flags appeared early on, the narrative was “shaped” in a way that was at times romantic, passionate, and even practical. The old saying of “love is blind” applies here, and before these patterns set in, hope is often what allows people to look the other way when the red flags arise. Over time, the narratives become a bit more realistic, hope begins to fade, and it becomes brutally clear that these patterns of mistrust, anger, and deceit are here to stay. A human relationship should not be built on what you can do for someone, but simply on a mutual partnership. A narcissistic relationship can often devolve into superficial attributes, such as jobs, schools, titles, resources, addresses, photo-shopped images, status posts, quiet children, well-appointed homes, and possessions.”
― Ramani Durvasula, Should I Stay or Should I Go?: Surviving a Relationship with a Narcissist

“We walk back to town, and he looks at me seriously and he says, 'Sadie, when you tell this story, say I asked you at the glass flower exhibit. Don't say it was closed.' The myth, the narrative, whatever you want to call it, was always of supreme importance to Sam.”
― Gabrielle Zevin, Tomorrow, and Tomorrow, and Tomorrow

“We are narratives. If you want to change your life, edit your story”
― Stavros Triantafyllidis

“To the others, these accounts are about (one more) distant land, like (any other) distant land, without any discernable features in the narrative, (all the same) distant like any other.”
― Theresa Hak Kyung Cha, Dictee

“Men of war will always create narratives that serve to justify the unjustifiable horrors of terror unleashed. And a man of peace will know that to argue the narrative is to further feed that narrative in the minds of those who created it, thereby heightening the horrors that those narratives justify. Therefore, a man of peace must destroy the narrative by utilizing the very horrors that they justify.”
― Craig D. Lounsbrough

“Nations, like individuals, tell stories in order to understand what they are, where they come from, and what they want to be. National narratives, like personal ones, are prone to sentimentality, grievance, pride, shame, self-blindness. There is never just one—they compete and constantly change. The most durable narratives are not the ones that stand up best to fact-checking. They’re the ones that address our deepest needs and desires. Americans know by now that democracy depends on a baseline of shared reality—when facts become fungible, we’re lost.”
― George Packer

“The ‘thing’ determines the pronoun, not the pronoun the ‘thing.”
― Craig D. Lounsbrough

“Fantasy never becomes ‘truth’ regardless of how much you fantasize about it being the truth.”
― Craig D. Lounsbrough

“Stories are reckless things, blind to everything but their own shape. When you tell a story, you set out to leave so much behind.”
― Aysegül Savas, Walking on the Ceiling

“When we recount our own tales we focus on the features that to us loom large and omit the ones that to us seem irrelevant. Studies show that it is likely that we do this early on, when we first give linguistic shape to our narrative, such that over time we don’t even see ourselves as exaggerating or minimizing.”
― Karyn L. Freedman, One Hour in Paris: A True Story of Rape and Recovery

“We can't meaningfully proceed with healing, with restoration, without "re-story-ation".”
― Robin Wall Kimmerer, Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants

“Narratives are avoidance on steroids.”
― Craig D. Lounsbrough

“So much of the story we tell about history is really the story that we tell about ourselves, about our mothers and our fathers and their mothers and their fathers, as far back as our lineages will take us. Throughout our lives we are told certain stories and they are stories that we choose to believe--stories that become embedded in our identities in ways we are not always fully cognizant of.

For many of the people I met at Blandford, the story of the Confederacy is the story of their home, of their family--and the story of their family is the story of them. So when they are asked to reckon with the fact that their ancestors fought a war to keep my ancestors enslaved, there is resistance to facts that have been documented by primary sources and contemporaneous evidence. They are forced to confront the lies they have upheld. They are forced to confront the flaws of their ancestors. As Greg Stewart, a member of the Sons of Confederate Veterans, told the New York Times in the aftermath of the 2015 Charleston massacre, "You're asking me to agree that my great-grandparents and great-great-grandparents were monsters." Accepting such a reality would, for them, mean the deterioration of a narrative that has long been a part of their lineage, and the disintegration of so much of who they believed themselves to be in the world.

But as I think of Blandford, I'm left wondering if we are all just patchworks of the stories we've been told. What would it take--what does it take--for you to confront a false history even if it means shattering the stories you have been told throughout your life? Even if it means having to fundamentally reexamine who you are and who your family has been? Just because something is difficult to accept doesn't mean you should refuse to accept it. Just because someone tells you a story doesn't make that story true.”
― Clint Smith, How the Word Is Passed: A Reckoning with the History of Slavery Across America

“The most dangerous stories we make up are the narratives that diminish our inherent worthiness. We must reclaim the truth about our lovability, divinity, and creativity.

Lovability: Many of my research participants who had gone through a painful breakup or divorce, been betrayed by a partner, or experienced a distant or uncaring relationship with a parent or family member spoke about responding to their pain with a story about being unlovable—a narrative questioning if they were worthy of being loved.

This may be the most dangerous conspiracy theory of all. If there’s one thing I’ve learned over the past thirteen years, it’s this: Just because someone isn’t willing or able to love us, it doesn’t mean that we are unlovable.”
― Brené Brown, Rising Strong: The Reckoning. The Rumble. The Revolution.

“And by this time the Chinese box was peeling crazily, and as each layer fell away a new voice told a new tale, none of the tales finished because the box inevitably found a new story inside each unfinished one, until it seemed that digression was the true principle of the universe, that the only real subject was the way the subject kept changing, and how could anyone live in a crazy situation in which nothing remained the same for five minutes and no narrative was ever driven through to its conclusion, there could be no meaning in such an environment, only absurdity, the unmeaningness that was the only sort of meaning anyone could hold on to.”
― Salman Rushdie, Two Years Eight Months and Twenty-Eight Nights

“It would serve us to identify and dissolve the narratives we write about individuals we have never taken the time to understand.”
― Troy Hadeed, My Name Is Love: We're Not All That Different

“In addressing random cases, the first step is to comprehend the narrative. Each case may have multiple angles, making it important to understand the narrative thoroughly. The narrative sets the tone for solving the case and allows for a comprehensive exploration of different perspectives.”
― Asuni LadyZeal

“In solving random cases of underachievement, dealing with limited information is a common challenge.”
― Asuni LadyZeal

“In random cases of underachievement, the success of the reversal process is often beyond your control. The limited information and lack of direct involvement may restrict the extent to which you can influence the outcome of the case. Despite these challenges, the practice of solving random cases enhances your adaptability and problem-solving skills.”
― Asuni LadyZeal

“La mejor forma de tratar la verdad es no pretender que una tiene una relación incontestable e imparcial con los hechos, sino revelar los propios deseos e intereses, porque la verdad no reside exclusivamente en los acontecimientos, sino también en las esperanzas y las necesidades.”
― Rebecca Solnit, A Field Guide to Getting Lost