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  1. abortion (1)
  2. Andy Goldsworthy (1)
  3. art (1)
  4. Catherine Lupton (1)
  5. Charles Eisenstein (1)
  6. Chloe (1)
  7. Daniel Hillis (1)
  8. Detroit (1)
  9. Fiasco (1)
  10. fiction (1)
  11. Flora Purim (1)
  12. future (1)
  13. Gaddafi (1)
  14. Hari Screenivasan (1)
  15. Harry Potter (1)
  16. heartbreak (1)
  17. Hisham Matar (1)
  18. Imre Kertész (1)
  19. John Battelle (1)
  20. John Leary (1)
  21. Jon Wilde (1)
  22. Judy Bonds (1)
  23. Justin Horner (1)
  24. Kate Fincke (1)
  25. kindness (1)
  26. Koranteng Ofosu-Amaah (1)
  27. learning (1)
  28. Lou Majaw (1)
  29. love (1)
  30. music (2)
  31. peace (1)
  32. Pharaoh Sanders (1)
  33. reality (1)
  34. Robert Shetterly (1)
  35. Sanjay Khanna (1)
  36. Slavoj Žižek (1)
  37. stories (24)
  38. Syd Kitchen (1)
  39. tact (1)
  40. Tisziji Munoz (1)
  41. Vivek Menezes (1)
  42. Wales (1)

  1. “Fiction enhances our ability to understand other people; it promotes a deep morality that cuts across religious and political creeds. More peculiarly, fiction’s happy endings seem to warp our sense of reality. They make us believe in a lie: that the world is more just than it actually is. But believing that lie has important effects for society — and it may even help explain why humans tell stories in the first place.”

    articles.boston.com
    baetsie

  2. “I remember in the early days, in 1974, when we were playing at the Village Vanguard in New York, I was in the back room looking for a decent reed when I heard this tenor sounding sax coming from the bandstand. I could not believe the sound and I said, ‘Who is this cat with the nerve to get up on the bandstand and just start blowing on my gig?’ So, I ran out. I was almost angry, and then I saw him. It was Tisziji playing guitar! But he sounded just like a horn player, and I kept saying to myself, ‘How is he doing this horn sound on a guitar.’ I just couldn’t believe it. When I saw it was Tisziji I calmed down.”

    www.heartfiresound.com
    protoslacker

  3. “I was taken to Auschwitz not by the train in the novel but by a real one.”

    www.latimes.com
    protoslacker

  4. “I have told these stories and talked about their function in the child's mastery of the dilemma of sleeplessness to demonstrate that creativity, narrative, and imaginative constructs are central to the child's mastery of the fundamental tasks of living.”

    www.3quarksdaily.com
    protoslacker

  5. “The first person I met on the second day of my arrival was Thelonious Monk. I went to the Harlem and was attempting to get into a club called Club Baron, and the doorman was giving me a hard time. I had never seen Thelonious Monk personally; he was standing behind the doorman and saw what was going on. I could barely speak English; my English was broken and I had an accent. Thelonious scolded the doorman and extended his hand to me. His hands were big and he was tall. He said to me, “Come on in. Don’t be afraid. I want you to sit with my friend”

    www.florapurim.com
    protoslacker

  6. “Stories, I’d argue, can help us to become resilient people.”

    www.yesmagazine.org
    protoslacker

  7. “This family, undoubtedly poorer than just about everyone else on that stretch of highway, working on a seasonal basis where time is money, took a couple of hours out of their day to help a strange guy on the side of the road while people in tow trucks were just passing him by.”

    www.nytimes.com
    protoslacker

  8. “In describing these myths, I use the word "story" in a special sense, as an unconscious narrative that makes meaning of the world, that assigns roles to human beings, that explains the nature of life, the world, and the purpose of human existence, and that coordinates human activity.”

    www.realitysandwich.com
    protoslacker

  9. “My experience so far with personal stories is that chasing the truth of stories is a scarlet herring, but that it matters deeply which stories you choose to believe, and what that belief then makes real.”

    catlupton.posterous.com
    protoslacker

  10. “The South Africa of the '60's and '70's was a strange place to grow up, musically or otherwise. Quite how strange was perhaps only really revealed to those who grew up there once the country had taken those first steps towards political normality in 1994. At a musical level, its long years of semi-isolation from the rest of the cultural world meant that, while a young musician like Kitchen would have had vicarious access, via records and the radio, to what was going on elsewhere, he would have had almost no direct contact with it, nor any realistic aspirations of his own music being heard beyond the confines of his immediate audience. Anyone choosing a musical life outside of the mainstream automatically restricts the size of that audience. In South Africa, that kind of decision marginalized the musician more than most.”

    www.furious.com
    protoslacker