It may come as a surprise to many that there are ciphers (coded messages indicated by a letter or group of letters) in the Bible. Some are hidden; some, when revealed, are a key part of the narrative itself
Well I'm not a storyteller, as far as telling stories which relate to experiences in my own life. That's not what I do. I write songs which have a narrative and attempt to make sense and tell a story - sure! But whenever I hear the word "storyteller" I think of a children's musician.
To me, music and songwriting is... part of the intriguing thing is the creative process; you know, the creative thought process. Relying on that... there is some sort of inspiration there and you can't always put your finger on where it comes from. So, it's always been important for me to have my own thing and, even though I'm inspired by and influenced by many different musicians and styles of music, I was very determined early on to have my own thing. So when I sit down to write I don't necessarily have a particular narrative or message in mind. I'm interested in language and in words.
Frankly, Django is an American story that needs to be told, when you think of slavery existing in this country for 245 years. In slave narratives there were all types of tales and drama and heroism and pain and love that happened during that time. That's rich material for drama! Everyone complains that there are no new stories left to tell. Not true, there are a whole bunch of them, and they're all American with a capital A.
More people pay attention to fiction and to narrative than pay attention to journalism. That's quite sad. More people pay attention to television than to prose. That's equally sad, if not more so.
Nobody reads anymore in America. Reading has become the least effective delivery system for narrative. That's sad because prose is the means by which you can deliver very complicated, nuanced explanations of problems and possible solutions.
Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.
The greatest evil of American slavery was not involuntary servitude but rather the narrative of racial differences we created to legitimate slavery. Because we never dealt with that evil, I don't think slavery ended in 1865, it just evolved.
The beauty of being a liberal is that history always begins this morning. Every day liberals can create a new narrative that destroys the past as it occurred. We have always been at war with Eastasia.
One of the things cognitive science teaches us is that when people define their very identity by a worldview, or a narrative, or a mode of thought, they are unlikely to change-for the simple reason that it is physically part of their brain, and so many other aspects of their brain structure would also have to change; that change is highly unlikely.
One of the reasons that politics lets us down is that we keep comparing it to our ideal narratives, to politics on TV or in the movies, which is tidier and better fits such structures.
Strong female characters - even if they don't necessarily make the same decisions that we might - make such great narrative material, especially when there's an equally strong male character in the mix.
We do not enjoy a story fully at the first reading. Not till the curiosity, the sheer narrative lust, has been given its sop and laid asleep, are we at leisure to savour the real beauties.
If we need simple narratives so people can amplify and spread them, are we forced to engage only with the simplest of problems?
For long, history was mainly political history, and historical narrative was confined to an account of the most important crises in political life, or to an account of wars and great generals.
I used to use a lot of words in the paintings but stopped because it created a narrative - or an answer to a question.
We need a new political language with broader narratives. Such a language has to unravel the pervasive ideological, pedagogical, and economic dynamics of a form of economic Darwinism that now governs much of the world. This system must be demystified, politicized, and recognized for the ways in which it has come to pose a dire threat to democracy.
I am not against identity politics or single based issues; at the same time, we need to find ways to connect these singular modes of politics to broader political narratives about democracy so we can recognize their strengths and limitations in building broad-based social movements. In short, we need to find new ways to connect education to the struggle for democracy that is under assault in ways that were unimaginable forty years ago.
I had been thinking independently about our ability to forget things that happened, specifically, events that clearly were wrong, that crossed the line. It seemed to me during the 2000 election recount that the media's narrative was being orchestrated. Shockingly, after the Supreme Court decision, the media simply said, "Time to move on," end of reporting: "Here's the new story." And everyone forgot.
I let my narrative embroidering impulses take over in prose poems.
Our minds simply don't function in some sort of narrative chronology. I think that one of the great gifts of writing fiction is being able to think about that.
I don't know if it's something that we as a species are hardwired for or if it's more of a contemporary phenomenon related to technology and rapid dissemination of data. I did know that whatever its cause or nature, I wanted to interrogate this phenomenon. But the only way for me to do that, the only tool I have to dissect it with, is a fictional narrative.
I am committed now to one thing: lyric sequences. I want the intensity of lyric, but the scope and arc of narrative. so, I think I'll just write sequences for the foreseeable (the Beloved sequence doesn't have a 'plot' so I can just keep adding poems to it, it's like a giant bag I can just put beloved lyrics into - I think there are about 300 of them i've published by now).
Narrative stories are nothing but models of karma and causality - how one thing leads to another. And a lot of narrative fiction is about causality that we don't immediately understand.
Living in Montgomery, I've been antagonized by the emergence of a narrative about our history that I believe is quite false and misleading, and actually dangerous. And the narrative that emerges when you spend time in the South - places likes Alabama, Georgia, Mississippi, Louisiana - is that we have always been a noble, wonderful, glorious region of the country, with wonderful, noble, glorious people doing wonderful, noble, glorious things. And there's great pride in the Alabamians of the nineteenth century.
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