For a thousand years, the Bible was almost the only book people read, if they could read at all. The stories that were officially told and portrayed were Biblical and religious stories. That other fount of Western civilization as we know it today the Greek classics went largely unknown until the Renaissance. For our purposes, there's a noteworthy difference between these two literatures: in the Bible people are hardly ever said to be mad as such, whereas in Greek drama they go off their rockers with alarming frequency. It was the rediscovery of the classics that stimulated the long procession of literary madpeople of the past four hundred years.
For every age there is a popular idea about what madness is, what causes it, and how a mad person should look and behave; and it's usually these popular ideas, rather than those of medical professionals, that turn up in songs and stories and plays and books.
The fact is there are no stories I can tell my friends
that will make them feel better. History cannot be
erased, although we can soothe ourselves by
speculating about it.
My friends, who are both women, tell me their stories,
which cannot be believed and which are true. They
are horror stories and they have not happened to me,
they have not yet happened to me, they have
happened to me but we are detached, we watch our
unbelief with horror.
All stories are about wolves. All worth repeating, that is. Anything else is sentimental drivel. Think about it. There's escaping from the wolves, fighting the wolves, capturing the wolves, taming the wolves. Being thrown to the wolves, or throwing others to the wolves so the wolves will eat them instead of you. Running with the wolf pack. Turning into a wolf. Best of all, turning into the head wolf. No other decent stories exist.
Now my education, life and consciousness are talked about by those who cannot understand what I wrote, what I think, what is my life. They make me up from their subjective imagination and attack me publicly as well as secretly. Because my novels completely obscure my behaviour and ideas, and result in a lot of misunderstandings, my name is related to nihilism or humanism, although I have written a book of over three hundred pages to explain my ideas (this book is very easy to understand and without a metaphysical term). Those who talk about me never read it. They judged my ideas according to one of my short stories, then deduced a variety of strange conclusions and decided which doctrine I belong to. I have been caught in this predicament all these years and cannot get rid of it...
Individual science fiction stories may seem as trivial as ever to the blinder critics and philosophers of today but the core of science fiction, its essence, the concept around which it revolves, has become crucial to our salvation if we are to be saved at all.
I saw in the Soviet Union many opponents of the regime. I visited a dozen prisons the political sections among them. I saw considerable of the work of the OGPU. I heard a good many stories of severity, even of brutality, and many of them from the victims. While I sympathized with personal distress I just could not bring myself to get excited over the suppression of opposition when I stacked it up against what I saw of fresh, vigorous expressions of free living by workers and peasants all over the land. And further, no champion of a socialist society could fail to see that some suppression was necessary to achieve it. It could not all be done by persuasion.
"The whole Torah is the names of the Creator." All the stories and the laws and the sentences, all are His Holy Names.
We can have the final word on hate, neglect, disease and all the other insidious characters that still script their way into our stories...for now, but not forever.
It has been said, "History is written by the victors." I take this to mean we can make ourselves victorious by writing, and then rewriting our own stories. In a country and culture so dominated by media, by the manipulation of words and stories, telling the tales of people whose stories historically have not been told is a radical act and I believe an act that can change the world and help rewrite history.
Folklore, legends, myths and fairy tales have followed childhood through the ages, for every healthy youngster has a wholesome and instinctive love for stories fantastic, marvelous and manifestly unreal.
I think that the successful genres of a particular period are reflections of the needs and thoughts and social struggles of that time. When you see a bunch of similar projects meeting with success, youve found a place in the social landscape where a particular story (or moral or scenario) speaks to readers. Youve found a place where the things that stories offer are most needed.
Each affects the other and the other affects the next, and the world is full of stories, but the stories are all one.
Lines formed at Ruby Pier - just as a line formed someplace else: Five people, waiting, in five chosen memories, for a little girl named Amy or Annie to grow and to love and to age and to die, and to finally have her questions answered - why she lived and what she lived for. And in that line now was a whiskered old man, with a linen cap and a crooked nose, who waited in a place called the Stardust Band Shell to share his part of the secret of heaven: That each affects the other and the other affects the next, and the world is full of stories, but the stories are all one.
Parents rarely let go of their children, so children let go of them. They move on. They move away. The moments that used to define them - a mother's approval, a father's nod - are covered by moments of their own accomplishments. It is not until much later, as the skin sags and the heart weakens, that children understand; their stories, and all their accomplishments, sit atop the stories of their mothers and fathers, stones upon stones, beneath the waters of their lives.
A few years ago, you seemed worried that perhaps a lack of emotion was a weakness in your stories.
A constant worry. Im still worried. I tell my students that one of the things readers want, and deserve, is a certain amount of blood on the floor. I dont always produce it. Probably a function of being more interested in other parts of the process.
If the hunters think we do all things by chants and spells, they may believe so it does not hurt them. I was taught how to read in the old books and how to make the old writings that was hard and took a long time. My knowledge made me happy it was like a fire in my heart. Most of all, I liked to hear of the Old Days and the stories of the gods.
When the first wrong was done to the first Indian, I was there. When the first slaver put out for the Congo, I stood on her deck. Am I not in your books and stories and beliefs, from the first settlements on? Am I not spoken of, still, in every church in New England? 'Tis true the North claims me for a Southerner and the South for a Northerner, but I am neither. I am merely an honest American like yourself and of the best descent for, to tell the truth, Mr. Webster, though I don't like to boast of it, my name is older in this country than yours.
I dont blame you for writing of me as you have. You had to believe other stories, but then I dont know if any one would believe anything good of me anyway.
She isn't very clever or very devout,... and she certainly empties the whole salt cellar into the stories she tells me. But I love her because she never lies.
Live Free or Die Hard may work better for an audience that doesn't know much about the series is than it will for Die Hard die hards, who will be wondering who that impersonator is and what he did with the real John McClane. The original Die Hard came out of nowhere to blitz the 1988 summer box office. The fourth installment arrives with a weight of expectations that Atlas would have trouble shouldering and, when the dust settles in September, it's unlikely that Live Free or Die Hard will be one of this year's big success stories.
History breaks down in images not into stories.
Having our own ambassador making these statements about Karimov is acutely embarrassing. It's bad for British business interests, it's bad for the stability in the region. I mean, he sends back these dossiers full of stories of what Karimov's security forces have supposed to have done, he sends them to the foreign office or whatever, he sends them directly to us, I mean does he think I'm going to read it, does he imagine that I'm interested in this stuff?
I hope you dont get known for nothing crazy, cause no man ever wants to hear those stories bout his lady.