Quotes about narrative (247 quotes, page 2)

“When we’re talking both to Wikipedians and people outside of Wikipedia, we say, 'Look, if we want to include all of these other narratives besides the typical narrative that we usually tell of dead white men, we’ve gotta get it in there now.”

Adrianne Wadewitz (1977–2014) academic and Wikipedian

Wholf, Tracy (May 18, 2014). "'Wikipedian' editor took on website’s gender gap" http://www.pbs.org/newshour/bb/wikipedian-editor-took-wikipedias-gender-gap/. PBS NewsHour (PBS). Retrieved May 19, 2014.

Men , People , Dead

“Much of the New Testament is the narrative of the coalescence of the native princes with the Roman invader.”

Bouck White (1874–1951) American author and novelist

Source: The Call of the Carpenter (1914), p. 9

“Many of the narratives can only tend to excite ideas the worst calculated for a female breast: Every thing is called plainly and roundly by its name; and the annals of a Brothel would scarcely furnish a greater choice of indecent expressions. Yet this is the Book, which young Women are recommended to study.”

Matthew Lewis (writer) book The Monk

Page 259.
The Monk (1796)

Women , Books , Idea , Study

“In 1680, Robert Boyle published the Second Part of his Continuation of New Experiments Physico-mechanical, Touching the Spring and Weight of the Air…. According to Boyle's preface, the experimental work… was mainly done by a remunerated technician… Denis Papin. The air-pump with which the experiments were performed was… of Papin's own design… At least some, and perhaps the greatest part, of the design of the experimental project was also owing to the technician…. It seems also that the technician was partly, if not mainly, responsible for the composition of the experimental narratives.”

Steven Shapin (1943) American sociologist

Steven Shapin, A Social History of Truth: Civility and Science in Seventeenth-Century England (1994)

Spring , Parting

“To read fiction means to play a game by which we give sense to the immensity of things that happened, are happening, or will happen in the actual world. By reading narrative, we escape the anxiety that attacks us when we try to say something true about the world. This is the consoling function of narrative — the reason people tell stories, and have told stories from the beginning of time.”

Umberto Eco book Six Walks in the Fictional Woods

Six Walks in the Fictional Woods (1994) Chapter Four: "Possible Woods"

People , World , Game , Sense

“[…] a stone rolled down hill by an idle truant boy […]. Even such is the course of a narrative like that which you are perusing. The earlier events are studiously dwelt upon, that you, kind reader, may be introduced to the character rather by narrative, than by the duller mdium of direct description; but when the story drwas near its close, we hurry over the circumstances, however important, which your imagination must hvae forestalled, and leave you to suppose those things which it would be abusing your patience to relate at length.”

Walter Scott book Waverley

Source: Waverley (1814), Chapter LXX

Imagination , Boy , Patience

“He would also advise conservatives not to be deterred if their opponents on the left unfairly called them racists — something he rightly believed happened all the time. Indeed, one of the things that got him out of bed in the morning was fighting the media-Democratic narrative that conservatives are all a bunch of racists.”

Jonah Goldberg (1969) American political writer and pundit

2010s, 2018, Andrew Breitbart would tell Steve Bannon to stay in Europe (2018)

Time , Fight

“In preparing this record, penned by my own hand, of my life and my participation in our great struggles for national existence, human liberty and political equality, I make no pretence to literary merit. The motive that induces me is not authorship. The import of the subject matter of my narrative is my only claim to attention. The statements of facts are a matter of documentary evidence. The comments are my own and show how I saw the matters treated of, whether others saw them in the same light or not. Respectfully dedicating this work to the millions of armed men and devoted women who participated in the great wars of this country, I leave it as a heritage to my wife and son.”

Douglas MacArthur (1880–1964) U.S. Army general of the army, field marshal of the Army of the Philippines

Source: Reminiscences (1964), p. vi

Life , Women , Men , War

“The body of the history is only a long narrative, and as such it must go on with a soft and even motion, alike in every part, so that nothing should stand too forward, or retreat too far behind.”

Lucian (120) ancient Greek writer

How to Write History

History , Parting

“To kerke the narre from God more farre,
Has bene an old-sayd sawe;
And he that strives to touche a starre
Oft stombles at a strawe.”

Edmund Spenser book The Shepheardes Calender

The Shepheardes Calender, July, line 97; reported in Bartlett's Familiar Quotations, 10th ed. (1919)

God

“We’ve been bombarded with nauseating narratives about the evils of factory farming for over 40 years. The fact that we have not, as a collective gesture of consumer outrage, monkey wrenched these hellholes into oblivion speaks either to the human tendency to procrastinate or, worse, our pathological indifference.”

James E. McWilliams (1968) American historian

"The Amnesia-ville Horror", in all-creatures.org (June 2012) https://www.all-creatures.org/articles/ar-jw-amnesia.html.

Evil , Indifference

“Since it is hardly likely that contemporary critics seriously mean to bar prose narratives that are unrealistic from the domain of literature, one suspects that a special standard is being applied to sexual themes. … There is nothing conclusive in the well-known fact that most men and women fall short of the sexual prowess that people in pornography are represented as enjoying; that the size of organs, number and duration of orgasms, variety and feasibility of sexual powers, and amount of sexual energy all seem grossly exaggerated. Yes, and the spaceships and the teeming planets depicted in science-fiction novels don’t exist either. The fact that the site of narrative is an ideal topos disqualifies neither pornography or science-fiction from being literature. … The materials of the pornographic books that count as literature are, precisely, one of the extreme forms of human consciousness. Undoubtedly, many people would agree that the sexually obsessed consciousness can, in principle, enter into literature as an art form. … But then they usually add a rider to the agreement which effectively nullifies it. They require that the author have the proper “distance” from his obsessions for their rendering to count as literature. Such a standard is sheer hypocrisy, revealing one again that the values commonly applied to pornography are, in the end, those belonging to psychiatry and social affairs rather than to art. (Since Christianity upped that ante and concentrated on sexual behavior as the root of virtue, everything pertaining to sex has been a “special case” in our culture, evoking particularly inconsistent attitudes.) Van Gogh’s paintings retain their status as art even if it seems his manner of painting owed less to a conscious choice of representational means than to his being deranged and actually seeing reality the way he painted it. … What makes a work of pornography part of the history of art rather than of trash is not distance, the superimposition of a consciousness more conformable to that of ordinary reality upon the “deranged consciousness” of the erotically obsessed. Rather, it is the originality, thoroughness, authenticity, and power of that deranged consciousness itself, as incarnated in a work.”

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” pp. 45-47
Styles of Radical Will (1966)

Women , Men , People , Books

““Into thirty centuries born,” Edwin Muir began his most celebrated poem, “At home in them all but the very last.” Much is said about escapism in narrative and fiction. But perhaps the greatest escapism of all is to take refuge in the domesticity of the past, the home that history and literature become, avoiding the one moment of time in which we are not at home, yet have to live: the present.”

Tim Parks (1954) British writer

"Why Read New Books?" The New York Review of Books (11 November 2014).

Home , History , Literature , Time

“After all that Richard Nixon had written about how hard work wins the day in America, finally it was Nixon who arranged for me to bypass the old rules. Through the agency of affirmative action, akin to those pivotal narrative devices in Victorian fictions, I had, suddenly, a powerful father in America, like Old Man Kennedy. I had, in short, found a way to cheat. The saddest part of the story is that Nixon was willing to disown his own myth for political expediency. It would be the working-class white kid—the sort he had been—who would end up paying the price of affirmative action, not Kennedys. Affirmative action defined a “minority” in a numerical rather than a cultural sense. And since white males were already numerically “represented” in the boardroom, as at Harvard, the Appalachian white kid could not qualify as a minority. And since brown and black faces were “underrepresented,” those least disadvantaged brown and black Americans, like me, were able to claim the prize of admission and no one questioned our progress.”

Richard Rodríguez (1944) American journalist and essayist

Brown : The Last Discovery of America (2003)

Way , Question , Sense , Parting

“There is no longer any such thing as fiction or nonfiction; there’s only narrative.”

E.L. Doctorow (1931–2015) novelist, editor, professor

New York Times Book Review (27 January 1988)

“Dissembling was the specialty of Broadway musicals. The storylines were scrupulously heterosexual. What could I have heard in them that made me think they explained me? It was this: The innocent characters were so wonderfully compromised by the actors who played them; by the writers and musicians who created them. The scar tissue on voices. The makeup on faces. Youth! The wicked stage! The jaded legend refreshed the innocence of my youth. Musical comedy songs were more real than my life because they were articulate and because they had ligaments of narrative attached to them. For today’s young queers and lonelys, these songs must seem quaint and campy and not useful. But they were never campy for me—for us?—they only became camp in the attempt to share them without embarrassment.”

Richard Rodríguez (1944) American journalist and essayist

Brown : The Last Discovery of America (2003)

Life , Youth , Music , Thinking

“Political thought as we understand it began in Athens because the Athenians were a trading people who looked at their contemporaries and saw how differently they organized themselves. If they had not lived where they did and organized their economic lives as they did, they could not have seen the contrast. Given the opportunity, they might not have paid attention to it. The Israelites of the Old Testament narrative were very conscious of their neighbors, Egyptian, Babylonian, and other, not least because they were often reduced to slavery or near-slavery by them. That narrative makes nothing of the fact that Egypt was a bureaucratic theocracy; it emphasizes that the Egyptians did not worship Yahweh. The history of Old Testament politics is the history of a people who did their best to have no politics. They saw themselves as under the direct government of God, with little room to decide their own fate except by obeying or disobeying God’s commandments. Only when God took them at their word and allowed them to choose a king did they become a political society, with familiar problems of competition for office and issues of succession. For the Jews, politics was a fall from grace. For the Greeks, it was an achievement. Many besides Plato thought it a flawed achievement; when historians and philosophers began to articulate its flaws, the history of political thought began among the argumentative Athenians.”

Alan Ryan (1940) British philosopher

On Politics: A History of Political Thought: From Herodotus to the Present (2012), Ch. 1 : Why Herodotus?

God , Fate , People , History

“The ultimate for me would be to do a feature that didn't require any narrative structure.”

Johnny Depp (1963) American actor, film producer, and musician

Quoted in Ron Dicker, "Going deep with rebel Johnny Depp," Baltimore Sun (2003-07-08)

“At the heart of Obama’s narrative was a belief that progress, in the larger scheme of things, was inevitable, and this belief underscored his position on every issue from marriage equality to climate change. His idea of progress was neither the rigid millennial faith of Woodrow Wilson nor Bush’s shallow God-blessed optimism. It was human-scale and incremental.”

George Packer (1960) American journalist and writer

God , Marriage , Faith , Idea

“I believe that one of the principle ways in which we acquire, hold, and digest information, is via narrative — so I hope you will understand when the remarks I make begin with the first sentence of our childhood — that we all remember — the phrase: "Once upon a time."”

Toni Morrison (1931–2019) American writer

Nobel Prize Lecture (1993)

Hope , Way , Understanding , Time

“If the film language and sensibility are not integrated somewhere in the narrative, then they are inconsequential, separate. And if you have one point of view, one aesthetic, one sensibility throughout everything you do, and you don't let people sway you away from that, especially your cinematographer, then the film develops a soul.”

Vincent Gallo (1961) American film director, writer, model, actor and musician

Filmmaker Magazine Interview

People , Soul

“Americans don't understand what metaphor in cinema is about. They're extremely good at making straightforward, linear narrative movies, which entertain superbly. But they very rarely do anything else.”

Peter Greenaway (1942) British film director

In an interview in Film Comment, May/June 1990
Interviews

Understanding

“It is instinctive to search for something. Abstract art is inherently about the search - and about not finding anything. My gray monochromes have the same illusionistic implications as my landscapes. I want them to be seen as narratives - even if they are narratives of nothingness. Nothing is something. You might say they are like photographs of nothing.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

Art , Search

“There are an infinite number of ways to lie and only one truth. Propaganda today is not a wall, not a dike holding back information from reaching the people. It is a flood, overwhelming our critical thinking. The concept is not to promote a particular narrative or agenda but to create doubt and to make people believe that the truth is unknowable. There are no Russian forces in Ukraine. Russia didn’t meddle in the U. S. election. The popular Vladimir Putin was reelected on March 18, 2018.”

Garry Kasparov (1963) former chess world champion

2010s, The Truth About Putin (2018)

People , Truth , Lie , Way

“Kandinsky understood 'form' as a form, like an object in the real world; and a object, he said, was a narrative – and so, of course, he disapproved of it. He wanted ‘his music without words’. He wanted to be 'simple as a child'. He intended, with his 'inner-self' to rid himself of 'philosophical barricades' (he sat down and wrote something about all this). But in turn his own writing has become a philosophical barricade, even it is a barricade full of holes. It offers a kind of Middle European idea of Buddhism or, anyhow, something too theosophical for me.”

Willem de Kooning (1904–1997) Dutch painter

De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

World , Music , Idea

“In recent years, Britain has withdrawn from the world. On Syria, on Europe, on Ukraine this government has been on the periphery: all victim of the same lack of long-term strategic thinking about British foreign policy and the absence of a moral compass. It is time for the left to revive its ethical foreign policy and carve out a new long-term narrative that puts human rights and the protection of civilians centre stage once again.”

Jo Cox (1974–2016) UK politician

A new progressive internationalism (17 June 2016)

World , Thinking , Time

“Credomancy may seek to exploit the human desire for a tidy narrative where an unblemished romantic hero vanquishes all obstacles, but such ideals have very little to do with reality. Reality requires pragmatism and compromise. Men fail. Women fail. There are no heroes, only human beings who somehow find the strength to behave heroically, no matter how many times they have been unable to do so in the past. If you understand that, Miss Edwards—if you truly and deeply understand that, then you will understand the most powerful thing anyone with a heart can understand.”

M. K. Hobson (1969) American writer

“And what’s that?” Emily said softly.
“That love is not enough. But it’s a start.”
Source: The Hidden Goddess (2011), Chapter 19, “The Ruined Woman” (p. 291)

Love , Women , Men , Understanding

“… Practical people have little idea of the practical ability required to write a large book, and especially a large history. Long before you get to the pen, there is an immensity of pure business: heaps of material are strewn every where; but they lie in disorder, unread, uncatalogued, unknown. It seems a dreary waste of life to be analysing, indexing, extracting works and passages, in which one per cent of the contents are interesting, and not half of that per centage will ultimately appear in the flowing narrative.”

Walter Bagehot (1826–1877) British journalist, businessman, and essayist

[ART. I—Edward Gibbon, National Review, 2, January 1856, 1–42, https://babel.hathitrust.org/cgi/pt?id=nyp.33433081643169;view=1up;seq=41] (quote p. 29)
Edward Gibbon (1856)

Life , People , Lie , Books

“Certain truths about human beings have never changed. We are tribal creatures in our very DNA; we have an instinctive preference for our own over others, for “in-groups” over “out-groups”; for hunter-gatherers, recognizing strangers as threats was a matter of life and death. We also invent myths and stories to give meaning to our common lives. Among those myths is the nation — stretching from the past into the future, providing meaning to our common lives in a way nothing else can. Strip those narratives away, or transform them too quickly, and humans will become disoriented. Most of us respond to radical changes in our lives, especially changes we haven’t chosen, with more fear than hope. We can numb the pain with legal cannabis or opioids, but it is pain nonetheless.
If we ignore these deeper facts about ourselves, we run the risk of fatal errors. It’s vital to remember that multicultural, multiracial, post-national societies are extremely new for the human species, and keeping them viable and stable is a massive challenge.”

Andrew Sullivan (1963) Journalist, writer, blogger

The Reactionary Temptation (2017)

Life , Death , Pain , Truth

“The editor introduces Muhammad Ghuri in the Taj-ul-Maasir of Hasan Nizami as follows: 'After dwelling on the advantage and necessity of holy wars, without which the fold of Muhammad's flock could never be filled, he says that such a hero as these obligations of religion require has been found, 'during the reign of the lord of the world Mu'izzu-d dunya wau-d din, the Sultan of Sultans, Abu-l Muzaffar Muhammad bin Sam bin Husain' the destroyer of infidels and plural-worshippers etc.,' and that Almighty Allah had selected him from amongst the kings and emperors of the time, 'for he had employed himself in extirpating the enemies of religion and the state, and had deluged the land of Hind with the blood of their hearts, so that to the very day of resurrection travellers would have to pass over pools of gore in boats, - had taken every fort and stronghold which he attacked, and ground its foundations and pillars to powder under the feet of fierce and gigantic elephants, - had sent the whole world of idolatry to the fire of hell, by the well-watered blade of his Hindi sword, - had founded mosques and colleges in the places of images and idols'.'The narrative proceeds: 'Having equipped and set in order the army of Islam, and unfurled the standards of victory and the flags of power, trusting in the aid of the Almighty, he proceeded towards Hindustan…”

Muhammad of Ghor (1160–1206) Ghurid Sultan

Elliot and Dowson, Vol. II : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. pp. 209-212. Quoted in Sita Ram Goel : The Calcutta Quran Petition, ch. 6.

War , World , Religion , Travel

“The built house seems all so fit,- everyway as it should be, as if it came there by its own law and the nature of things,- we forget the rude disorderly quarry it was shaped from. The very perfection of the house, as if Nature herself had made it, hides the builder's merit. Perfect, more perfect than any other man, we may call Shakspeare in this: he discerns, knows as by instinct, what condition he works under, what his materials are, what his own force and its relation to them is. It is not a transitory glance of insight that will suffice; it is deliberate illumination of the whole matter; it is a calmly seeing eye; a great intellect, in short. How a man, of some wide thing that he has witnessed, will construct a narrative, what kind of picture and delineation he will give of it,- is the best measure you could get of what intellect is in the man. Which circumstance is vital and shall stand prominent; which unessential, fit to be suppressed; where is the true beginning, the true sequence and ending? To find out this, you task the whole force of insight that is in the man. He must understand the thing; according to the depth of his understanding, will the fitness of his answer be.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Poet

Law , Understanding , Nature , Housing

“I can't call them linear narratives, and I can't call them chronological in a traditional, classical sense; I'm sure there's plenty of stuff I borrow more from William Faulkner than William Shakespeare. I just find it funny that at this point, we see a collection of highly charged, highly potent symbols as referring back to a classical aesthetic, because to me they seem deeply connected to the pedestrian actuality of real life.”

Joanna Newsom (1982) American musician

Interview with Pitchfork (2006)

Life , Sense

“The hero [of a narrative] must be male, regardless of the gender of the text-image, because the obstacle, whatever its personification, is morphologically female…. The hero, the mythical subject, is constructed as human being and as male; he is the active principle of culture, the establisher of distinction, the creator of differences. Female is what is not susceptible to transformation, to life or death; she (it) is an element of plot-space, a topos, a resistance, matrix and matter.”

Teresa de Lauretis (1938) Italian academic

de Lauretis, Teresa (1984). "Desire in Narrative", Alice Doesn't, p.118-119. Indiana University Press. ISBN 0253203163.

Life , Death

“The chief character in this narrative is the Caribbean Sea, one of the world's most alluring bodies of water, a rare gem among the oceans, defined by the islands that form a chain of lovely jewels to the north and east.”

James A. Michener book Caribbean

Caribbean (1989) First lines

Love , World , Water , Sea

“…Scientific knowledge does not represent the totality of knowledge; it has always existed in addition to, and in competition and conflict with, another kind of knowledge, which I will call narratives in the interest of simplicity.”

Jean-François Lyotard (1924–1998) French philosopher

Source: The Postmodern Condition: A Report on Knowledge (1977), p.7

Knowledge

“My sonnet asserts that the sonnet still lives. My epic, should such fortune befall me, asserts that the heroic narrative is not lost — that it is born again.”

James Fenton (1949) poet

Source: An Introduction to English Poetry (2002), Ch. 22: Poetic Drama and Opera (p. 125)

“I realized, after studying much previous research on the question [of Jesus], that virtually every story in the gospels and Acts can be shown to be very likely a Christian rewrite of material from the Septuagint, Homer, Euripides' Bacchae, and Josephus. …A literary origin is always to be preferred to an historical one in such a case. And that is the choice we have to make in virtually every case of New Testament narrative. […] There may once have been an historical Jesus, but for us there is one no longer. If he existed, he is forever lost behind the stained glass curtain of holy myth. At least that's the current state of the evidence as I see it.”

Robert M. Price (1954) American theologian

[Price, Robert M., w:Robert M. Price, The Quest of the Mythical Jesus, http://www.centerforinquiry.net/jesusproject/articles/the_quest_of_the_mythical_jesus, Jesus Project - Center for Inquiry, Committee for the Scientific Examination of Religion, 28 March 2017] [The Quest of the Mythical Jesus first appeared on the Robert M. Price Myspace page.]

Question , Study

“It’s an irritating reality that many places and events defy description. Angkor Wat and Machu Picchu, for instance, seem to demand silence, like a love affair you can never talk about. For a while after, you fumble for words, trying vainly to assemble a private narrative, an explanation, a comfortable way to frame where you’ve been and whats happened. In the end, you’re just happy you were there — with your eyes open — and lived to see it.”

Anthony Bourdain book The Nasty Bits

The Nasty Bits (2006)

Love , Way , Reality , Silence

“While it is much preferable to anarchy, government cannot abolish the evils of the human condition. At any time the state is only one of the forces that shape human behaviour, and its power is never absolute. At present, fundamentalist religion and organized crime, ethnic-national allegiances and market forces all have the ability to elude the control of government, sometimes to overthrow or capture it. States are at the mercy of events as much as any other human institution, and over the longer course of history all of them fail. As Spinoza recognized, there is no reason to think the cycle of order and anarchy will ever end. Secular thinkers find this view of human affairs dispiriting, and most have retreated to some version of the Christian view in which history is a narrative of redemption. The most common of these narratives are theories of progress, in which the growth of knowledge enables humanity to advance and improve its condition. Actually, humanity cannot advance or retreat, for humanity cannot act: there is no collective entity with intentions or purposes, only ephemeral struggling animals each with its own passions and illusions. The growth of scientific knowledge cannot alter this fact. Believers in progress – whether social democrats or neo-conservatives, Marxists, anarchists or technocratic Positivists – think of ethics and politics as being like science, with each step forward enabling further advances in future. Improvement in society is cumulative, they believe, so that the elimination of one evil can be followed by the removal of others in an open-ended process. But human affairs show no sign of being additive in this way: what is gained can always be lost, sometimes –as with the return of torture as an accepted technique in war and government – in the blink of an eye. Human knowledge tends to increase, but humans do not become any more civilized as a result. They remain prone to every kind of barbarism, and while the growth of knowledge allows them to improve their material conditions, it also increases the savagery of their conflicts.”

John Gray book Black Mass: Apocalyptic Religion and the Death of Utopia

Post-Apocalypse: After Secularism (pp. 264-5)
Black Mass: Apocalyptic Religion and the Death of Utopia (2007)

War , Religion , Way , History

“For something like forty years I've been getting various sorts of narratives off my chest without being able to hit upon a classification for them. There's something dreary to me about the publisher's arbitrary division of every word written for publication into fiction and nonfiction. My writing has a most irritating way of being difficult to classify in either category. At times I would find it hard to tell you whether the stuff is prose or verse. Gradually I've come up with the tag: contemporary chronicle.”

John Dos Passos (1896–1970) novelist, playwright, poet, journalist, painter

Presentation at Carleton College, Nov 30 1960

Way , Time

“Marriage, which has been the bourne of so many narratives, is still a great beginning, as it was to Adam and Eve, who kept their honeymoon in Eden, but had their first little one among the thorns and thistles of the wilderness. It is still the beginning of the home epic — the gradual conquest or irremediable loss of that complete union which makes the advancing years a climax, and age the harvest of sweet memories in common.”

George Eliot book Middlemarch

Middlemarch (1871)

Marriage , Age , Home , Memory

“I associated much of Christian doctrine with children's stories because I grew up in church. My Sunday school teachers had turned Bible narrative into children's fables. They talked about Noah and the ark because the story had animals in it. They failed to mention that this was when God massacred all of humanity.”

Donald Miller book Blue Like Jazz: nonreligious thoughts on Christian spirituality

Blue Like Jazz (2003, Nelson Books)

God , Children , School , Teachers

“Knowledge grows, but human beings remain much the same.Belief in progress is a relic of the Christian view of history as a universal narrative, and an intellectually rigorous atheism would start by questioning it.”

John Gray (1948) British philosopher

The Atheist Delusion (2008)

History , Question , Knowledge , Universe

“Why can't a writer use writing as a painter uses paint? I try to. When I wrote The Tree of Man I felt I couldn't write about simple, illiterate people in a perfectly literate way; but in my present novel the language is more sophisticated. I think perhaps I have clarified my style quite a lot over the years. I find it a great help to hear the language going on around me; not that what I write, the narrative, is idiomatic Australian, but the whole work has a balance and rhythm which is influenced by what is going on around you. When you first write the narrative it might be unconscious, but when you come to work it over you do it more consciously. It gives what I am writing a greater feeling of reality.”

Patrick White (1912–1990) English-born Australian writer

In The Making (1970)

People , Way , Feeling , Thinking

“The first documentary I saw as a child was Robert Flaherty’s Nanook of the North (1922) broadcast one Sunday afternoon. Nanook enchanted me by his courage to smile in a frozen wasteland, and by the simple fact that he wore a fur coat rather than a military uniform: this gentle hunter wasn’t a conqueror. Later, I understood how great Flaherty was: he told a timeless story without using commentary or pedagogues, and he didn’t interview Nanook like a celebrity or an aggressive talk-show host. He remained off-screen, observing and listening to create that exceptional complicity we feel in this documentary that eschews didacticism. The emotion of life found its counterpart in the emotion of art - a rare and precious achievement in a genre that is often limited to the emotion of the informational narrative.”

Damian Pettigrew Canadian filmmaker

On documentary influences, Sundance Channel Interview (July 2004)

Life , Smile , Art , Feeling

“If time is an illusion, then all movement and change are also illusions. So the only thing that gives us the illusion of movement and change and events and time is the fact that our consciousness is moving through this mass along the time axis. If you imagine it as a strip of celluloid, each of those individual cells is motionless. If they each represent a moment, they’re unchanging. They’re not going anywhere, but as the projector beam of our consciousness passes across them, it provides the illusion of movement, and narrative and cause and effect and circumstances.”

Alan Moore (1953) English writer primarily known for his work in comic books

The Believer interview (2013)

Imagination , Change , Time

“The left should carve out a new long-term narrative about British foreign policy: one that puts human rights and the protection of civilians centre stage again. And one that reasserts our commitment to the responsibility to protect those most at risk of mass atrocity crimes. This isn’t really about being pro or anti-military intervention. Rather it’s a call to redefine the principles that will guide the decisions we take, as well as a commitment to then honour them.”

Jo Cox (1974–2016) UK politician

A new progressive internationalism (17 June 2016)

Decision

“I think that with all the emphasis on achievement, careers and competitiveness, science education has become — with notable bright spots to be sure — a joyless, alienating and frustrating experience for millions and millions of kids.
There are those science-fair-winner types and then there's the rest of the class, not grooving on the material and hence, they find out, doomed to mediocre futures. Seems like ambivalence and hostility aren't such surprising responses to such a message. … I think things might go better if the narrative of our scientific understandings of nature — what some are calling "Big History" — were told early and often, capturing the interest and imagination of students from a young age. They might then be eager to learn the problem-solving, evidence-based process of scientific inquiry that has led to these understandings.”

Ursula Goodenough (1943) American biologist

"It's Time For A New Narrative; It's Time For 'Big History'", in 13.7: Cosmos & Culture (10 February 2011) http://www.npr.org/blogs/13.7/2011/02/10/133652898/its-time-for-a-new-narrative-its-time-for-big-history

Hostility , Age , Education , Imagination

“Originally I was content to just simply accept the money, that was offered when people had adapted my comic books into films. Eventually I decided to refuse to accept any of the money for the films, and to ask if my name could be taken off of them, so that I no longer had to endure the embarrasment of seeing my work travested in this manner. The first film that they made of my work was "From Hell" Which was an adaptation of my "Jack the Ripper" narrative … In which they replaced my gruff Dorset police constable with Johnny Depp's Absinthe-swigging dandy. The next film to be made from one of my books was the regrettable "League of Extraordinary Gentlemen"… Where the only resemblence it had to my book was a similar title. The most recent film that they have made of mine is apparently this new "V for Vendetta" movie which was probably the final straw between me and Hollywood. They were written to be impossible to reproduce in terms of cinema, and so why not leave them simply as a comic in the way that they were intended to be. And if you are going to make them into films, please try to make them into better ones, than the ones I have been cursed with thus far.”

Alan Moore (1953) English writer primarily known for his work in comic books

From the BBC2 show The Culture Show (9 March 2006) (separate quotes shown; edited together for the segment of the show)

Money , People , Books , Way

“the same year in which I began Latin, I made my first commencement in the Greek poet with the Iliad. After I had made some progress in this, my father put Pope's translation into my hands. It was the first English verse I had cared to read, and it became one of the books in which for many years I most delighted: I think I must have read it from twenty to thirty times through. I should not have thought it worth while to mention a taste apparently so natural to boyhood, if I had not, as I think, observed that the keen enjoyment of this brilliant specimen of narrative and versification is not so universal with boys, as I should have expected both a priori and from my individual experience.”

John Stuart Mill book Autobiography

Source: Autobiography (1873)

https://archive.org/details/autobiography01mill/page/10/mode/1up p. 10

Nature , Reading , Universe , Time

“And look at the finesse of these historians. They maintain that such facts and narratives must be swept under the carpet in the interest of national integration: recalling them will offend Muslims, they say, doing so will sow rancour against Muslims in the minds of Hindus, they say. Simultaneously, they insist on concocting the myth of Hindus destroying Buddhist temples. Will that concoction not distance Buddhists from Hindus? Will that narrative, specially when it does not have the slightest basis in fact, not embitter Hindus?”

Arun Shourie (1941) Indian journalist and politician

Eminent Historians: Their Technology, Their Line, Their Fraud

“But archaeology […] often acts as a parallel narrative to history: if you start digging with a textbook in your hand, you are soon going to get confused. You have to be comfortable with the idea that there are many different versions of history.”

Richard Miles (historian) (1969) British historian and archaeologist

My bright idea: Civilisation is still worth striving for

History , Idea

“Scientific language that is correct and serious so far as teachers and students are concerned must follow these stylistic norms:
# Be as verbally explicit and universal as possible…. The effect is to make `proper' scientific statements seem to talk only about an unchanging universal realm….
# Avoid colloquial forms of language and use, even in speech, forms close to those of written language. Certain words mark language as colloquial…, as does use of first and second person…
# Use technical terms in place of colloquial synonyms or paraphrases….
# Avoid personification and use of specifically or usually human attributes or qualities…, human agents or actors, and human types of action or process…
# Avoid metaphoric and figurative language, especially those using emotional, colorful, or value laden words, hyperboles and exaggeration, irony, and humorous or comic expressions.
# Be serious and dignified in all expression of scientific content. Avoid sensationalism.
# Avoid personalities and reference to individual human beings and their actions, including (for the most part) historical figures and events….
# Avoid reference to fiction or fantasy.
# Use causal forms of explanation and avoid narrative and dramatic accounts…. Similarly forbidden are dramatic forms, including dialogue, the development of suspense or mystery, the element of surprise, dramatic action, and so on.”

Jay Lemke (1946) American academic

Source: Talking Science: Language, Learning, and Values. 1990, p. 133-134, as cited in: Mary U. Hanrahan, "Applying CDA to the analysis of productive hybrid discourses in science classrooms." (2002).

Color , Teachers , Universe , Parting

“I imagine that a desire for purpose is innate for many of us. We presuppose that learning occurs within larger, cosmic narrative structures. Things matter because there is an implicit reason behind their occurrence, and it is our job to discern the organic meaning within. Constellating and creating our own sense of meaning from such moments can feel insufficient; discovering some preordained answer seems more compelling. In that moment I wanted to be handed a fate, not fashion my own.”

Chris Stedman (1987) American activist

Source: Faitheist (2012), Chapter 5, “Unholier Than Thou: Saying Goodbye to God” (p. 93)

Fate , Feeling , Imagination , Fashion

“[E]conomics is a narrative discipline, and explanations are easy to fit retrospectively.”

Nassim Nicholas Taleb book Fooled by Randomness

page 257
Fooled by Randomness (2001)

“Time-travel has a uniquely intimate, and seductively morbid, relationship to both fiction and history, because it scrambles the very principle of narrative order in profundity. If Western media authorities assumed the same role of cultural custodianship that has been traditional among their Chinese peers, they too might have been compelled to denounce a genre that flagrantly subverted the foundational principle of Aristotelian poetics: that any story worthy of veneration should have a beginning, a middle, and an end. If time-travel can occur, it seems (at least initially) that order is an illusion, so that fiction and reality switch places.”

Nick Land (1962) British philosopher

"Twisted Times (part 1)" https://web.archive.org/web/20130301034415/http://www.thatsmags.com/shanghai/blog/view/12498 (2013)

Travel , History , Reality , Time

“Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.”

W. S. Gilbert (1836–1911) English librettist of the Gilbert & Sullivan duo

The Mikado (1885)

“We live in an entertainment culture soaked in graphic, often sadistic, violence. Older folks find themselves stunned by what a desensitized youth finds routine, often amusing. It’s not just movies. Young men sit for hours pulling video-game triggers, mowing down human beings en masse without pain or consequence. And we profess shock when a small cadre of unstable, deeply deranged, dangerously isolated young men go out and enact the overlearned narrative.”

Charles Krauthammer (1950–2018) American journalist

2010s, 2012, Roots of mass murder: Getting serious about stopping the psychotic (2012)

Men , Pain , Youth , Game

“Thus, Grünendahl has noted Pollock's tendency to develop broad narratives without any supporting evidence. Moreover, he draws attention to Pollock's messianism in promoting American scholarship…., casting doubt on Pollock's attempt to analyse Sanskrit objectively. He raises the pertinent question as to whether Pollock is providing the intellectual foundations for America's 'New Raj', to replace the dead British Raj - i. e., whether American imperialism is replacing the dead British imperialism.”

Rajiv Malhotra book The Battle for Sanskrit

The Battle for Sanskrit (2016)

Question , Support , Drawing , Dead

“When you think of the visual style, when you think of the visual language of a film there tends to be a natural separation of the visual style and the narrative elements, but with the great, whether it is Stanley Kubrick, Terrence Malick or Hitchcock what you're seeing is inseparable, a vital relationship between the images and the story he's telling.”

Christopher Nolan (1970) British–American film director, screenwriter, and producer

Chistopher Nolan and David Fincher featurette on Movieweb http://www.movieweb.com/movie/the-tree-of-life-2011/christopher-nolan-and-david-fincher-featurette

Nature , Thinking

“Literally, the Bible is a gigantic myth, a narrative extending over the whole of time from creation to apocalypse, unified by a body of recurring imagery that "freezes" into a single metaphor cluster, the metaphors all being identified with the body of the Messiah, the man who is all men, the totality logoi who is one Logos, the grain of sand that is the world.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter 8, p. 224

Men , World , Time

“In Shakespeare's The Merchant of Venice, act V, scene 1, we find this exchange between the two young lovers: JESSICA: I am never merry when I hear sweet music
LORENZO: The reason is, your spirits are attentiveThe opening of the finale of Beethoven' s 'Emperor' Concerto provides a splendid example of the kind of theme that is the inspiration for this book. A completely unified theme that hangs together beautifully, it nevertheless portrays vividly a series of contrasting sentiments in a succession that amounts to a small narrative …”

Charles Rosen (1927–2012) American pianist and writer on music

Prologue
Music and Sentiment (2010)

Books , Music , Lovers , Success

“… The fame of Gibbon is highest among writers; those especially who have studied for years particular periods included in his theme (and how many those are; for in the East and West he has set his mark on all that is great for ten centuries!) acutely feel and admiringly observe how difficult it would be to say so much, and leave so little untouched; to compress so many telling points; to present in so few words so apt and embracing a narrative of the whole.”

Walter Bagehot (1826–1877) British journalist, businessman, and essayist

[ART. I—Edward Gibbon, National Review, 2, January 1856, 1–42, https://babel.hathitrust.org/cgi/pt?id=nyp.33433081643169;view=1up;seq=43] (quote p. 31)
Edward Gibbon (1856)

Feeling , Study

“When Heracles was quite a young man and was nearly of the age at which you yourselves are now, while he was deliberating which of the two roads he should take, the one leading through toils to virtue, or the easiest, two women approached him, and these were Virtue and Vice. Now at once, although they were silent, the difference between them was evident from their appearance. For the one had been decked out for beauty through the art of toiletry, and was overflowing with voluptuousness, and she was leading a whole swarm of pleasures in her train; now these things she displayed, and promising still more than these she tried to draw Heracles to her. But the other was withered and squalid, and had an intense look, and spoke quite differently; for she promised nothing dissolute or pleasant, but countless sweating toils and labours and dangers through every land and sea. But the prize to be won by these was to become a god, as the narrative of Prodicus expressed it; and it was this second woman that Heracles in the end followed.”

Basil of Caesarea (329–379) Christian Saint

Source: On Greek Literature, p. 399

Women , God , Pleasure , Age

“…a novel is a prose narrative of some length that has something wrong with it…”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“An Unread Book”, p. 50
The Third Book of Criticism (1969)

“Paul… calls the process of shifting away from material matters and toward spiritual matters a “turning to the Lord” and “taking away of a veil.” In all the different tropes and terms for the theoria-meaning, Paul instructs us in a single form of teaching: it is not necessary always to remain in the letter, on the grounds that the immediately apparent meaning of the things said in many instances causes us harm in the pursuit of the life of virtue. But it is necessary to pass over to the incorporeal and spiritually intelligible reading with insight, with the result that the more corporeal meanings are converted to an intellectual sense and meaning, in the same way that the dust of the more fleshly significance of what is said is “shaken off.” This is why Paul says, “the letter kills, but the spirit gives life,” since oftentimes with biblical narrative, it will not provide us with examples of a good life if we stop short at the simple events.”

Gregory of Nyssa (335–395) bishop of Nyssa

Commentary on the Song of Songs, As translated by Margaret M. Mitchell in Paul, the Corinthians and the Birth of Christian Hermeneutics (2010)

Life , Way , Intelligence , Sense

“Seventeen years after its initial release, The Empire Strikes Back is still as thrilling and involving as ever. Because of the high quality of the original product, it doesn't show a hint of dating. Neither [Star Wars Episode IV: A New Hope nor Star Wars Episode VI: Return of the Jedi] were able to match the narrative scope of Empire, which today remains one of the finest and most rousing science fiction tales ever committed to the screen.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/s/sw2.html of Star Wars Episode V: The Empire Strikes Back (1980).
Four star reviews

War , Hope , Star , Science

“Making art means not only using languages, but also creating new ones. To do this, new tools are indispensable. Even returning to more traditional languages such as linear poetry or narration, after being enriched by the experience of hypertext, hypermedia and multimedia, allows us to rethink the older forms of expression and transfer the lessons of the new media into even the more traditional modalities of language, such as narrative, for example.”

Caterina Davinio (1957) Italian writer

Source: Virtual Mercury House. Planetary & Interplanetary Events, p. 48

Art

“A narrative is like a room on whose walls a number of false doors have been painted; while within the narrative, we have many apparent choices of exit, but when the author leads us to one particular door, we know it is the right one because it opens.”

John Updike (1932–2009) American novelist, poet, short story writer, art critic, and literary critic

Introduction to The Best American Short Stories of 1984 (1984)

Painting , Falseness

“Bowing to the reality of harried lives, Rudwick recognizes that not everyone will read every word of the meaty second section; he even explicitly gives us permission to skip if we get “bogged down in the narrative.” Readers absolutely must not do such a thing; it should be illegal. The publisher should lock up the last 60 pages, and deny access to anyone who doesn't pass a multiple-choice exam inserted into the book between parts two and three.”

Stephen Jay Gould book An Urchin in the Storm

"The Power of Narrative", p. 88
An Urchin in the Storm (1987)

Books , Reality , Reading , Parting

“I was a narrative historian, believing more and more as I matured that the first function of the historian was to answer the child's question, "What happened next?"”

A.J.P. Taylor (1906–1990) Historian

A Personal History ([1983] 1984) p. 301

Question

“Here you will find a pleasant and agreeable style, of a natural simplicity. The narrative is pure and the good faith of the author shines from it, exempt from the vanity of talking about oneself, and from partiality or envy when speaking of others. His ideas and exhortations are accompanied more by good zeal and truth than by any fine ability; and all throughout there is an authoritative tone and gravity proper to a man of good background, brought up in great affairs.”

Philippe de Commines (1447–1511) writer and diplomat

Vous y trouverez le langage doux et aggreable, d'une naïfve simplicité, la narration pure, et en laquelle la bonne foy de l'autheur reluit evidemment, exempte de vanité parlant de soy, et d'affection et d'envie parlant d'autruy : ses discours et enhortemens, accompaignez, plus de bon zele et de verité, que d'aucune exquise suffisance, et tout par tout de l'authorité et gravité, representant son homme de bon lieu, et élevé aux grans affaires.
Michel de Montaigne Essais Bk. II, ch. 10: "Des Livres"; translation from Serge Hughes (trans.) The Essential Montaigne (New York: New American Library, 1970) p. 293.
Criticism

Truth , Faith , Idea , Nature

“Like Wilson and a slew of other authors working on what was once called "sociobiology" but is now usually called "evolutionary behavior" or "evolutionary psychology," I am convinced that there is a biological and universal human nature, and that it appears manifest in the human record. The question is, how might that insight… be folded into the narratives that give our immediate history meaning and power?”

Dan Flores (1948) American historian

The Natural West: Environmental History in the Great Plains and Rocky Mountains (2003)

Behavior , History , Question , Nature

“As project chief you are creating a narrative, a story, a good yarn. If you look at the process-journey that way, you and your gang will … dramatically up the odds of a WOW outcome!”

Tom Peters (1942) American writer on business management practices

November 5, 2010.
Tom Peters Daily, Weekly Quote

Way

“But let us not speak anymore of books and theories on paper. Now then, did you see my exhibition? As you may remember, 1 gathered in 'Cahiers d'Art' ten very recent paintings, twenty-five gouaches and watercolors, also recent, and twenty-eight drawings that span the period from 1910-1934. In the majority of the compositions on canvas I used a sand technique more or less consistently.... but I usually don't distinguish between traditional oil painting, gouache, tempera and watercolor, and I even simultaneously use the various techniques in the same work. What is essential for me is to be able to clearly convey what I want, to recount my dream. / consider both technique and form to be mere instruments of expression, and my stories, furthermore, are not narrative or historical in character, but purely pictorial.”

Wassily Kandinsky (1866–1944) Russian painter

From an interview, 28 July 1935, in the Italian daily newspaper 'Lavoro fascista'; as quoted in Kandinsky in Paris: 1934-1944 - exhibition catalog, published by The Solomon K. Guggenheim Foundation, New York, 1985, p. 30
1930 - 1944

Books , Dreams , Drawing , Painting

“I can hardly believe we are talking about a possibility so inconceivable as that other universes exist—and that the Geometers originate there!"
In this, Zh'vaern seemed to speak for the entire table.
Except for Jad. "The words fail. There is one universe, by the definition of universe. It is not the cosmos we see through our eyes and our telescopes—that is but a single Narrative, a thread winding through a Hemn space shared by many other Narratives besides ours. Each Narrative looks like a cosmos alone, to any consciousness that partakes of it. The Geometers came from other Narratives—until they came here, and joined ours."
Having dropped this bomb, Fraa Jad excused himself, and went to the toilet.
"What on earth is he going on about?" Fraa Lodoghir demanded. "It sounded like literary criticism!”

Neal Stephenson book Anathem

Part 10, "Messal"
Anathem (2008)

Universe

“We have, indeed, in the part taken by many scientific men in this controversy of "Law versus Miracle," a good illustration of the tenacious vitality of superstitions. Ask one of our leading geologists or physiologists whether he believes in the Mosaic account of the creation, and he will take the question as next to an insult. Either he rejects the narrative entirely, or understands it in some vague non-natural sense. …Whence …this notion of "special creations"…Why, after rejecting all the rest of the story, he should strenuously defend this last remnant of it, as though he had received it on valid authority, he would be puzzled to say.”

Herbert Spencer (1820–1903) English philosopher, biologist, sociologist, and prominent classical liberal political theorist

The Development Hypothesis (1852)

Men , Law , Understanding , Question

“There’s no disputing the fact that I am politically conservative. But, ultimately, the question here is about fact patterns. Before the book was released, I took it to the investigative units at the New York Times, Washington Post, ABC News and Fox News. They independently verified large portions of the book on important narratives. As to the book itself, there are seven or eight minor revisions made. The reader is either going to conclude the Clintons operate in a parallel universe that is just filled with amazing coincidences, or, like lots of politicians, they have recognized that official power is a means to self-enrichment, and they have done it on steroids in a way no other political figure has in modern American political history.”

Peter Schweizer (1964) American writer

The Interview: Author Peter Schweizer on the Clintons’ wealth http://www.macleans.ca/politics/washington/the-interview-author-peter-schweizer-on-the-clintons-wealth/ (June 15, 2015)

Books , Way , History , Question

“In the hyper-sensitized reality of the region in which any criticism of Israel is swiftly and often unfairly branded as anti-Semitic, it can become counterproductive to inflame rather than explain and this means to hear the narratives of both sides, to articulate the suffering on both sides, not just the Palestinians.”

Jane Fonda (1937) American actress and activist

Jane Fonda expresses regret over film fest protest http://web.archive.org/web/20090924084738/http://www.google.com/hostednews/canadianpress/article/ALeqM5hbIn5EBVrgcVoM8z8WGshai3begA, by Cassandra Szklarski, September 14, 2009.

Reality , Suffering

“Every culture has a Story of the People to give meaning to the world. Part conscious and part unconscious, it consists of a matrix of agreements, narratives, and symbols that tell us why we are here, where we are headed, what is important, and even what is real. I think we are entering a new phase in the dissolution of our Story of the People, and therefore, with some lag time, of the edifice of civilization built on top of it….
But the new mythos has not yet emerged. We will abide for a time in the space between stories. Those of you who have been through it on a personal level know that it is a very precious - some might say sacred - time. Then we are in touch with the real. Each disaster lays bare the real underneath our stories. The terror of a child, the grief of a mother, the honesty of not knowing why. In such moments we discover our humanity. We come to each other’s aid, human to human. We take care of each other. That’s what keeps happening every time there is a calamity, before the beliefs, the ideologies, the politics take over again.
How can we prepare? We cannot prepare. But we are being prepared.”

Charles Eisenstein (1967) American writer

Charles Eisenstein, 2013:The Space Between Stories http://charleseisenstein.net/2013-the-space-between-stories/, Charleseisenstein.net, 2013

People , World , Thinking , Time

“As author in control of the plot I can choose and dictate the fall-out of events from any number of infinite possibilities -- which is a very volatile state of affairs, suggesting the ephemerality of fictional narrative. I can choose to have seven characters and kill six of them off in the first five minutes. I can have seventy characters and squash them under a fallen rock, make them copulate with beasts, sit them on the moon or turn their hair white. This casual condition of authorship is irresponsible.”

Peter Greenaway (1942) British film director

Watching Water

“History, however, is not a linear narrative of progress. Rights may be won and taken away; gains are never complete or uncontested, and popular movements generate their own countervailing pressures.”

Eric Foner (1943) American historian

2000s, The Century: A Nation's-Eye View (2002)

History

“In 'pure' instrumental music, the strategies chosen by composers to create unity were responsive to the tenets of Romanticism…Even in the absence of an explicit program, motivic continuity created a kind of narrative coherence. Like the chief character in a novel, the 'fortunes' of the main motive--its development, variation, and encounters with other 'protagonists'--served as a source of constancy throughout the unfolding of the musical process.”

Leonard B. Meyer (1918–2007) American composer and philosopher

Style and Music: Theory, History, and Ideology (1989), ISBN 0226521524

Music , Motivation

“Counting is the most simple and primitive of narratives -- 1 2 3 4 5 6 7 8 9 10 -- a tale with a beginning, a middle and an end and a sense of progression -- arriving at a finish of two digits -- a goal attained, a dénouement reached.”

Peter Greenaway (1942) British film director

Fear of Drowning By Numbers

Sense

“Understanding is better than ignorance. Ignorance, unlike life, unlike narrative, is static. Understanding implies a forward motion, thus the possibility of change.”

Robert Charles Wilson book Blind Lake

Source: Blind Lake (2003), Chapter 22 (p. 263)

Life , Understanding , Change

“Historiography cannot, by itself, answer the question about the criterion for pedagogical authenticity. So much is obvious in the construction of the historical account, which must assume some principle of selection in order to produce a coherent narrative. That principle of selection will be a judgment either of correctness or of "importance." The former begs the question; the latter is either a concealed judgment of correctness or the reduction of philosophy to popularity. In Aristotle, the principle of selection is an otherwise established judgment of correctness. In much academic historiography, the principle often seems to be popularity. Neither provides an answer to the question about legitimate authority in philosophy.”

Mark D. Jordan (1953)

Authority and persuasion in philosophy (1985)

Question

“The Scriptures … tell us what man wanted to do when he created the city, what he was hoping to conquer, what he thought to establish. And this narrative of the origin of the city is essential, for we see there in its purest state, and expressed simply, the feelings of the builders. Such feelings are no longer evident in our modern day when the prodigious complexity of the world hides the simple plans of the never-changing human heart.”

Jacques Ellul book The Meaning of the City

Source: The Meaning of the City (1951), p. 7

World , Hope , Feeling , Change

“Ideology is a parasite on religious substructures. A religious narrative has a particular set of characteristics. It's very balanced. So for example there's the feminist idea of the patriarchy. Well the religious idea of society has a patriarchal notion built into it. That would be the dying king. The once great dying king. In a religious story, there's the natural world, the chaotic world - there's a positive element and a negative element. Then there's the social world - there's the wise king and the tyrannical king. Then there's the individual world - that's the adversary and the hero. There's always a positive and a negative at each level. And it stops it from being an over simplification.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

Concepts

World , Idea , Nature

“In a Thumbnail Sketch here is [the Multiple Drafts theory of consciousness] so far:There is no single, definitive "stream of consciousness," because there is no central Headquarters, no Cartesian Theatre where "it all comes together" for the perusal of a Central Meaner. Instead of such a single stream (however wide), there are multiple channels in which specialist circuits try, in parallel pandemoniums, to do their various things, creating Multiple Drafts as they go. Most of these fragmentary drafts of "narrative" play short-lived roles in the modulation of current activity but some get promoted to further functional roles, in swift succession, by the activity of a virtual machine in the brain. The seriality of this machine (its "von Neumannesque" character) is not a "hard-wired" design feature, but rather the upshot of a succession of coalitions of these specialists.The basic specialists are part of our animal heritage. They were not developed to perform peculiarly human actions, such as reading and writing, but ducking, predator-avoiding, face-recognizing, grasping, throwing, berry-picking, and other essential tasks. They are often opportunistically enlisted in new roles, for which their talents may more or less suit them. The result is not bedlam only because the trends that are imposed on all this activity are themselves part of the design. Some of this design is innate, and is shared with other animals. But it is augmented, and sometimes even overwhelmed in importance, by microhabits of thought that are developed in the individual, partly idiosyncratic results of self-exploration and partly the predesigned gifts of culture. Thousands of memes, mostly borne by language, but also by wordless "images" and other data structures, take up residence in an individual brain, shaping its tendencies and thereby turning it into a mind.”

Daniel Dennett book Consciousness Explained

Source: Consciousness Explained (1991), p. 253–4.

Reading , Success , Animals , Parting

“One of the things that's great about Training Day is that you have two very distinct personalities, but it's true: it also has a great plot. If you can do both, it's incredibly exciting for the audience. Oftentimes, you have art films that have no narrative to speak of and instead offer characterization; then you have mainstream movies that are simple formulas, A-B-C-D. Training Day is a good combo.”

Ethan Hawke (1970) American actor and writer

Powell's Books http://www.powells.com/authors/hawke.html (2002-08-06)
2000–2004

Art , Personality , Training

“A religious naturalist is a naturalist who has adopted the epic as a core narrative and goes on to explore its religious potential, developing interpretive, spiritual and moral/ethical responses to the story.”

Ursula Goodenough (1943) American biologist

"Exploring The Religious Naturalist Option", 13.7: Cosmos & Culture (23 November 2014) http://www.npr.org/blogs/13.7/2014/11/23/366104014/exploring-the-religious-naturalist-option
Context: Scientific inquiry has provisioned us with a mind-boggling new core narrative — the epic of evolution, the epic of creation, the universe story, big history, everybody's story — where humans and human cultures are understood to be emergent from and, hence, a part of nature.
Naturalists adopt this account as their core narrative, with full recognition that these understandings will certainly deepen and may shift with further scientific inquiry. They adopt the story currently on offer and do not simply select features of the story that support preferred theories of nature. … A religious naturalist is a naturalist who has adopted the epic as a core narrative and goes on to explore its religious potential, developing interpretive, spiritual and moral/ethical responses to the story.
Importantly, these responses are not front-loaded into the story as they are in the traditions. Therefore, the religious naturalist engages in a process, both individually and in the company of fellow explorers, to discover and experience them. These explorations are informed and guided by the mindful understandings inherent in our human traditions, including art, literature, philosophy and the religions of the world.

“There are many facets of science that are almost exactly opposite of dramatic narrative. It's slow, tedious, inconclusive, it's hard to tell good guys from bad guys — it's everything that a normal hour of Star Trek is not.”

Kim Stanley Robinson (1952) American science fiction writer

Interview http://www.locusmag.com/1997/Issues/09/KSRobinson.html in Locus, (September 1997)
Context: Science fiction rarely is about scientists doing real science, in its slowness, its vagueness, the sort of tedious quality of getting out there and digging amongst rocks and then trying to convince people that what you're seeing justifies the conclusions you're making. The whole process of science is wildly under-represented in science fiction because it's not easy to write about. There are many facets of science that are almost exactly opposite of dramatic narrative. It's slow, tedious, inconclusive, it's hard to tell good guys from bad guys — it's everything that a normal hour of Star Trek is not.

Guy , Star , Science

“I remember Castelnau: like me Ambassador to England, who wrote like me a narrative of his life in London. On the last page of Book VII, he says to his son: ‘I will deal with this event in Book VIII,’ and Book VIII of Castelnau’s Memoirs does not exist: that warns me to take advantage of being alive.”

François-René de Chateaubriand book Mémoires d'Outre-Tombe

Book VI: Ch. 8: Comparison of Washington and Bonaparte
Mémoires d'outre-tombe (1848 – 1850)
Context: I halt at the beginning of my travels, in Pennsylvania, in order to compare Washington and Bonaparte. I would rather not have concerned myself with them until the point where I had met Napoleon; but if I came to the edge of my grave without having reached the year 1814 in my tale, no one would then know anything of what I would have written concerning these two representatives of Providence. I remember Castelnau: like me Ambassador to England, who wrote like me a narrative of his life in London. On the last page of Book VII, he says to his son: ‘I will deal with this event in Book VIII,’ and Book VIII of Castelnau’s Memoirs does not exist: that warns me to take advantage of being alive.

Life , Books

“A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in itself; in language … not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.”

Aristotle book Poetics

1449b.24
Poetics

Fear

“Repeatedly I took stabs at writing, but the results were so poor that I would tear up the sheets. I was striving for a level of expression that matched those of the novels I read. But I always somehow failed to get onto the page what I thought and felt. Failing at sustained narrative, I compromised by playing with single sentences and phrases. Under the influence of Stein’s Three Lives, I spent hours and days pounding out disconnected sentences for the sheer love of words. I would write: “The soft melting hunk of butter trickled in gold down the stringy grooves of the split yam.” Or: “The child’s clumsy fingers fumbled in sleep, feeling vainly for the wish of its dream.” “The old man huddled in the dark doorway, his bony face lit by the burning yellow in the windows of distant skyscrapers.” My purpose was to capture a physical state or movement that carried a strong subjective impression, an accomplishment which seemed supremely worth struggling for. If I could fasten the mind of the reader upon words so firmly that he would forget words and be conscious only of his response, I felt that I would be in sight of knowing how to write narrative. I strove to master words, to make them disappear, to make them important by making them new, to make them melt into a rising spiral of emotional stimuli, each greater than the other, each feeding and reinforcing the other, and all ending in an emotional climax that would drench the reader with a sense of a new world. That was the single aim of my living.”

Richard Wright book Black Boy

Black Boy (1945)

Love , World , Dreams , Feeling

“I’m trying to capture what was visceral in the books, which is your first-person present tense narrative, and that’s gonna require a certain amount of subjectivity.”

Gary Ross (1956) American film director

On his style of filming The Hunger Games, as quoted in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/
Context: I’m trying to capture what was visceral in the books, which is your first-person present tense narrative, and that’s gonna require a certain amount of subjectivity. In order to be in Katniss’ point of view and in her shoes — what being in a character’s point of view is, is restricting the information that the audience has to what that character has, and not being writer omniscient. I’m not cutting from place-to-place, I’m moving in this serpentine, destabilized path as Katniss wanders through this world. That’s not only true in the shooting style, it’s also true in the editing style. … This was a very conscious decision to create a very subjective style because the books are so subjective, they’re first-person and they’re urgent and you see the world as she sees the world, so that was the reason for it.

Books , Personality

“The function of reciting (actually chanting—for Scripture and national epic were sung, not read) Pentateuch and Homer at national reunions is the same in both cases. The narrative knits the segments of the nation together telling how they achieved their place in history in the course of a great event (The Exodus or the Trojan War). All of the tribes and their leaders are heroic. The text brings in each tribe by name. …there must be an honoured place for all.”

Cyrus H. Gordon (1908–2001) American linguist

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VIII Further Observations on the Bible

War , History , Reading

“Most of the chapters of this book were written while the events described were taking place. Reading the manuscript, I notice there's a lack of continuity between the chapters. One thing doesn't lead to another. This is because, in the 2016 presidential campaign, as far as I can tell, one thing didn't lead to another…. if my book lacks a coherent narrative it's because I couldn't find one.”

P. J. O'Rourke (1947) American journalist

Author's Note
How The Hell Did This Happen? (2017)

Books , Reading

“My dear reader, if you are tired of going on with this account of the Lord's gracious interpositions for us week after week, or day after day, I beseech you to lay it aside for the present. Take it up at another time. This Narrative is not of an ordinary character. It does not contain anecdotes for amusement; it relates no embellished tales; it gives facts in which the hand of God is seen stretched out on our behalf, as the result of prayer and faith. Seek to admire God, dear reader, in this simple Narrative of Facts, which are related to His praise, and to allure your heart more and more for Him, and which are brought before you in all simplicity to encourage you and to stir you up, if it may please God so to use His servant, to put your whole trust in Him. I judge that it will be the more profitable way to read this account by little and little.”

George Müller (1805–1898) German-English clergyman

A Narrative of Some of the Lord's Dealings with George Müller Written by Himself, Fourth Part.
Fourth Part of Narrative

God , Faith , Way , Time

“When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work.”

Tom Robbins (1932) American writer

The Syntax of Sorcery (2012)
Context: Certain individual words do possess more pitch, more radiance, more shazam! than others, but it's the way words are juxtaposed with other words in a phrase or sentence that can create magic. Perhaps literally. The word "grammar," like its sister word "glamour," is actually derived from an old Scottish word that meant "sorcery." When we were made to diagram sentences in high school, we were unwittingly being instructed in syntax sorcery, in wizardry. We were all enrolled at Hogwarts. Who knew?
When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work. The pervasive brutality in current fiction – the death, disease, dysfunction, depression, dismemberment, drug addiction, dementia, and dreary little dramas of domestic discord – is an obvious example of how language in exploitative, cynical or simply neurotic hands can add to the weariness, the darkness in the world. Less apparent is that bland writing — timid, antiseptic, vanilla writing – is nearly as unhealthy as the brutal and dark. Instead of sipping, say, elixir, nectar, tequila, or champagne, the reader is invited to slurp lumpy milk or choke on the author's dust bunnies.

Art , Literature

Quotes about narrative page 2

Quotes about narrative
page 2