Quotes About Stories

I was an altar boy and heard the Bible being read out repeatedly. The stories have stayed with me, although they're completely remixed in my head. And often, when I do further reading, I'm quite surprised by the difference between the real story and my memory of the story.

I've been surprised that 'Elizabeth is Missing' has been so well received as a crime book. I love mystery stories, and that is what I decided to write.

Most Robin Hood stories are not very exciting. There are not a lot of surprises.

In the world I've known most of my life, old stories quickly lose their power over capital markets and get replaced by new surprises. That which everyone fixates on gets priced into the stock market quickly and can't drag on.

Digression is my passion. I'm not kidding. I love telling the main stories, but in some ways, what I love most is using those narratives as a way of stringing together the interesting stories that people have kind of forgotten and that are kind of surprising.

It's so surreal for us to be playing at Tynemouth Castle. It couldn't be much closer to home. I've got so many mad stories of us all running around here as kids, and it's mental that we're going to be playing at an actual castle!

And there are still a number of people around who say that Hammett didn't write detective stories at all-merely hard-boiled chronicles of mean streets with a perfunctory mystery element dropped in like the olive in a martini. (The Simple Art of Murder)

We think we tell stories, but stories often tell us, tell us to love or hate, to see or be seen. Often, too often, stories saddle us, ride us, whip us onward, tell us what to do, and we do it without questioning. The task of learning to be free requires learning to hear them, to question them, to pause and hear silence, to name them, and then become a story-teller.

Stories migrate secretly. The assumption that whatever we now believe is just common sense, or what we always knew, is a way to save face. It's also a way to forget the power of a story and of a storyteller, the power in the margins, and the potential for change.

Stories move in from the shadows to the limelight. And though the stage presents the drama of our powerlessness, the shadows offer the secret of our power.

In the fall of 2017, we began to consider anew how violence, hate, and discrimination push people out, and how the stories we have are haunted by the ghosts of the stories we never got.

Stories are compasses and architecture; we navigate by them, we build our sanctuaries and our prisons out of them, and to be without a story is to be lost in the vastness of a world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or figure out how to tell yourself their story.

If libraries hold all the stories that have been told, there are ghost libraries of all the stories that have not. The ghosts outnumber the books by some unimaginably vast sum. Even those who have been audible have often earned the privlage through strategic silences or the inability to hear certain voices, including their own.

So #MeToo was not the beginning of women speaking up, but of people listening, and even then—as we've seen in the case of Christine Blasey Ford, testifying against Supreme Court nominee Brett Kavanaugh—continuing to be silenced. Just as Gerard Baker did, for changing the story about the Battle of Little Bighorn, Blasey Ford received death threats. One measure of how much power these voices and stories have is how frantically others try to stop them.

We think we tell stories, but stories often tell us, tell us to love or to hate, to see or to be blind. Often, too often, stories saddle us, ride us, whip us onward, tell us what to do, and we do it without questioning. The task of learning to be free requires learning to hear them, to question them, to pause and hear silence, to name them, and then to become the storyteller.

The task of calling things by their true names, of telling the truth to the best of our abilities, of knowing how we got here, of listening particularly to those who have been silenced in the past, of seeing how the myriad stories fit together and break apart, of using any privilege we may have been handed to undo privilege or expand its scope is each of our tasks. It's how we make the world.

Stories are compasses and architecture; we navigate by them, we build our sanctuaries and prisons out of them, and to be without a story is to be lost in the vastness of the world that spreads in all directions like arctic tundra or sea ice.

Stories are compasses and architecture; we navigate by them, we build our sanctuaries and our prisons out of them, and to be without a story is to be lost in the vastness of a world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or to figure out how to tell yourself in their story.

People disappear into their stories all the time. We live in stories and images, as immersed in them as though they were Wu Daozi's inkpots; we breathe in presuppositions and exhale further stories. We in the West have been muddled by Plato's assertion that art is imitation and illusion; we believe that it is a realm apart, one whose impact on our world is limited, one in which we do not live.

The earth is seven-tenths water, but the ratio of silence to voice is far greater. If libraries hold all the stories that have been told, there are ghost libraries of all the stories that have not. The ghosts outnumber the books by some unimaginably vast sum.

I don't believe in palmistry or any other form of divination, but I believe in stories that come by any means, and in capacities strangers have to be messengers and mirrors in which you see new possibilities.

By the time these stories were written, six decades had passed since the crucifixion. In that time, the evangelists had heard just about every conceivable objection to the resurrection, and they were able to create narratives to counter each and every one of them.

Las grandes novelas son como las ciudades: lugares cotidianos donde suceden hechos extraordinarios. Todas las vidas posibles se superponen y se entrecruzan en sus calles y una ciudad es también un tejido de relatos.

When I take risks now, I do so only when I have to and with every precaution. I used to prospect for news, dropping into places to see what was up. Well, I could go to parts of Libya today and find lots of good stories, but I probably wouldn't be around to tell them.