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In his latest book, Marshall Gregory begins with the premise that our lives are saturated with stories, ranging from magazines, books, films, television, and blogs to the words spoken by politicians, pastors, and teachers. He then explores the ethical implication of this nearly universal human obsession with narratives. Through careful readings of Katherine Anne Porter’s "The Grave," Thurber’s "The Catbird Seat," as well as David Copperfield and Wuthering Heights, Gregory asks (and answers) the question: How do the stories we absorb in our daily lives influence the kinds of persons we turn out to be? Shaped by Stories is accessible to anyone interested in ethics, popular culture, and education. It will encourage students and teachers to become more thoughtful and perceptive readers of stories.
A good story draws students in, engaging their hearts and minds---leaving them wanting more. God's story is like this...a captivating epic that stretches from the beginning of time, across our lives and into the future...calling us to find ourselves in it. We can help students to be captured by this amazing story, rather than seeing the Bible as confusing, boring or irrelevant. After ten years in youth ministry, Michael Novelli felt like he had tried everything to help his students connect with the Bible. Then, a missionary introduced him to a unique, ancient way to engage people with the Bible through story. Michael learned the art of 'Storying,' a sequential telling of Bible stories followed by a time of creative retelling and in-depth dialogue. God used this process to completely transform his youth group as they found themselves experiencing God in a whole new way. Take a journey into the amazing process of Storying, and discover how it can change your life and ministry. This new approach to learning builds a lasting theological foundation while challenging students to discover their unique identity and calling in God's story. Shaped by the Story helps you understand why Storying connects with students today, and provides all you need to introduce Storying to your group, including sample narratives and an interactive training DVD.
"The story of literature in sixteen acts, from Alexander the Great and the Iliad to ebooks and Harry Potter, this engaging book brings together remarkable people and surprising events to show how writing shaped cultures, religions, and the history of the world"--
Why we learn the wrong things from narrative history, and how our love for stories is hard-wired. To understand something, you need to know its history. Right? Wrong, says Alex Rosenberg in How History Gets Things Wrong. Feeling especially well-informed after reading a book of popular history on the best-seller list? Don't. Narrative history is always, always wrong. It's not just incomplete or inaccurate but deeply wrong, as wrong as Ptolemaic astronomy. We no longer believe that the earth is the center of the universe. Why do we still believe in historical narrative? Our attachment to history as a vehicle for understanding has a long Darwinian pedigree and a genetic basis. Our love of stories is hard-wired. Neuroscience reveals that human evolution shaped a tool useful for survival into a defective theory of human nature. Stories historians tell, Rosenberg continues, are not only wrong but harmful. Israel and Palestine, for example, have dueling narratives of dispossession that prevent one side from compromising with the other. Henry Kissinger applied lessons drawn from the Congress of Vienna to American foreign policy with disastrous results. Human evolution improved primate mind reading—the ability to anticipate the behavior of others, whether predators, prey, or cooperators—to get us to the top of the African food chain. Now, however, this hard-wired capacity makes us think we can understand history—what the Kaiser was thinking in 1914, why Hitler declared war on the United States—by uncovering the narratives of what happened and why. In fact, Rosenberg argues, we will only understand history if we don't make it into a story.
A collection of ten short stories reprinted from "Give the pig a chance" and other anthologies, nine new stories, and a play by Mike D. Garcia based on Rice's short story, "She flies."
Winner of the 2003 Trillium Book Award "Stories are wondrous things," award-winning author and scholar Thomas King declares in his 2003 CBC Massey Lectures. "And they are dangerous." Beginning with a traditional Native oral story, King weaves his way through literature and history, religion and politics, popular culture and social protest, gracefully elucidating North America's relationship with its Native peoples. Native culture has deep ties to storytelling, and yet no other North American culture has been the subject of more erroneous stories. The Indian of fact, as King says, bears little resemblance to the literary Indian, the dying Indian, the construct so powerfully and often destructively projected by White North America. With keen perception and wit, King illustrates that stories are the key to, and only hope for, human understanding. He compels us to listen well.
Some of the country’s most admired authors—including Andre Dubus III, Mark Doty, Marianne Leone, Michael Patrick MacDonald, Richard Blanco, Abigail Thomas, Kate Bornstein, Jerald Walker, and Kyoko Mori—describe their treks through dark memories and breakthrough moments and attest to the healing power of putting words to experience. What does it take to write an honest memoir? And what happens to us when we embark on that journey? Melanie Brooks sought guidance from the memoirists who most moved her to answer these questions. Called an essential book for creative writers by Poets & Writers, Writing Hard Stories is a unique compilation of authentic stories about the death of a partner, parent, or child; about violence and shunning; and about the process of writing. It will serve as a tool for teachers of writing and give readers an intimate look into the lives of the authors they love. Authors profiled in Writing Hard Stories: Andre Dubus III, Sue William Silverman, Michael Patrick MacDonald, Joan Wickersham, Kyoko Mori, Richard Hoffman, Suzanne Strempek Shea, Abigail Thomas, Monica Wood, Mark Doty, Edwidge Dantict, Marianne Leone, Jerald Walker, Kate Bornstein, Jessica Handler, Richard Blanco, Alysia Abbott, and Kim Stafford Insights from Writing Hard Stories “Why we endeavor collectively to write a book or paint a canvas or write a symphony...is to understand who we are as human beings, and it’s that shared knowledge that somehow helps us to survive.”—Richard Blanco “Here’s what you need to understand: your brothers [or family or friends] are going to have their own stories to tell. You don’t have to tell the family story. You have to tell your story of being in that family.”—Andre Dubus III “We all need a way to express or make something out of experiences that otherwise have no meaning. If what you want is clarity and meaning, you have to break the secrets over your knee and make something of those ingredients.”—Abigail Thomas “What we remember and how we remember it really tells us how we became who we became.”—Michael Patrick MacDonald “The reason I write memoir is to be able to see the experience itself...I hardly know what I think until I write...Writing is a way to organize your life, give it a frame, give it a structure, so that you can really see what it was that happened.”—Sue William Silverman “After a while in the process, you have some distance and you start thinking of it as a story, not as your story...It was a personal grief, but no longer personal...[It’s] something that has not just happened to me and my family, but something that’s happened in the world.”—Edwidge Danticat “Tibetan Buddhists believe that eloquence is the telling of a truth in such a way that it eases suffering...The more suffering that is eased by your telling of the truth, the more eloquent you are. That’s all you can really hope for—being eloquent in that fashion. All you have to do is respond to your story honestly, and that’s the ideal.”—Kate Bornstein “You can never entirely redeem the experience. You can’t make it not hurt anymore. But you can make it beautiful enough so that there’s something to balance it in the other scale. And if you understand that word beautiful as not necessarily pretty, then you’re getting close to recognizing the integrative power of restoring the balance, which is restoring the truth.”—Richard Hoffman
The powerful and painful stories of five survivors of Magdalene Laundries in Canada, Ireland, and Australia.
Literary fiction meets the otherworldly in this “wonderfully weird and entertaining” urban fantasy for Millennial fans of Victor LaValle (Esquire). “An utterly charming, silly, and heartily entertaining coming-of-age story about a man-boy who learns to believe in himself by reckoning with evil.” —Boston Globe What do you do when you wake up hung over and late for work only to find a stranger on your couch? And what if that stranger turns out to be an Adversarial Manifestation—like Satan, say—who has brewed you a fresh cup of fair-trade coffee? And what if he offers you your life’s goal of making the bestseller list if only you find his missing Lucky Cat and, you know, sign over your soul? If you’re Billy Ridgeway, you take the coffee.
Jack and Bear are the best of friends. Jack loves Bear because he makes him feel brave. But one day Bear disappears and Jack suddenly feels all alone with a big Bear-shaped hole in his heart. Word soon gets around that Bear is missing and Jack starts to receive kind messages from strangers all over the world. Then the toy bears start to arrive. Though the bears start to heal Jack's sadness, none of them are Jack's bear. Perhaps there is something Jack can do with them to help the other people with bear-shaped holes. . .