Home > Topic > narrative

narrative QUOTES

narrative QUOTES

81 " Feminist narrative theory notes that for most of literary history there's been an imbalance between men's and women's stories. Male characters go out into a world of infinite possibilities. Female characters either get married or die. This makes enlightened female readers such as ourselves pissed off. But however much we deconstruct the narrative, however vigilantly we plow and apply the theory and read with our skeptical, over-educated eyes, still some lessons are hard to fully internalize, and the dream of happily-ever-after love, in real life and in literature, dies hardest of all. "

― Laurie Frankel , The Atlas of Love

82 " I didn’t wake up this morning worrying about what protest color I’d wear, or what the world would do without me because I didn’t wake up feeling like the victimhood narrative was a part of my story. Real women don’t have to remind the world every day that history once slighted them. "

― Tomi Lahren

83 " My voice is strong and imposing, and my legs are powerful enough to hold up its weight. I wake up every day assured of my right to not only participate in the world as an equal part of it, but to loudly reject the narrative that keeps trying to tell me to pipe down, fold in, shrivel up, simper, apologise and slink my way through life so as not to offend or upset anyone with the complicated, beautiful mess that is me. I have fought the odds to get here, empowered by the knowledge that every single woman who has come before me has fought her own battle in order to survive. We fight like girls. This is how we prevail. And this is why we're still standing. "

― Clementine Ford , Fight Like a Girl

84 " In the nineteen sixties and seventies, there were people in all the democratic countries who didn’t have any real power, and they started going to the people who did have all the power and saying, “All these principles of equality you’ve been talking about since the French Revolution are very nice, but you don’t seem to be taking them very seriously. You’re all hypocrites, actually. So we’re going to make you take those principles seriously.” And they held demonstrations and bus rides, and occupied buildings, and it was very embarrassing for the people in power, because the other people had such a good argument, and anyone who listened seriously had to agree with them.

‘Feminism was working, and the civil rights movement was working, and all the other social justice movements were getting more and more support. So, in the nineteen eighties, the CIA—’ she turned to Keith and explained cheerfully, ‘this is where X-Files Theory comes into it – hired some really clever linguists to invent a secret weapon: an incredibly complicated way of talking about politics that didn’t actually make any sense, but which spread through all the universities in the world, because it sounded so impressive. And at first, the people who talked like this just hitched their wagon to the social justice movements, and everyone else let them come along for the ride, because they seemed harmless. But then they climbed on board the peace train and threw out the driver.

‘So instead of going to the people in power and saying, “How about upholding the universal principles you claim to believe in?” the people in the social justice movements ended up saying things like “My truth narrative is in competition with your truth narrative!” And the people in power replied, “Woe is me! You’ve thrown me in the briar patch!” And everyone else said, “Who are these idiots? Why should we trust them, when they can’t even speak properly?” And the CIA were happy. And the people in power were happy. And the secret weapon lived on in the universities for years and years, because everyone who’d played a part in the conspiracy was too embarrassed to admit what they’d done. "

― Greg Egan , Teranesia

85 " The " new" Anglo-American feminist theory argues that too little mothering, and, in particular, the absence of mother-son connection, is what engenders both sexism and traditional masculinity in men. (...) This perspective positions mothering as central to feminist politics in its insistence that true and lasting gender equality will occur only when boys are raised as the sons of mothers. As the early feminist script of mother-son connection required the denial of the mother's power and the displacement of her identity as mother, the new perspective affirms the maternal and celebrates mother-son connection. In this, it rewrites the patriarchal and early feminist narrative to give (...) voice and presence to the mother and make mother-son connection central to the redesign of both traditional masculinity and the larger patriarchal culture. "

86 " Men grow up expecting to be the hero of their own story. Women grow up expecting to be the supporting actress in somebody else's. As a kid growing up with books and films and stories instead of friends, that was always the narrative injustice that upset me more than anything else. I felt it sometimes like a sharp pain under the ribcage, the kind of chest pain that lasts for minutes and hours and might be nothing at all or might mean you're slowly dying of something mundane and awful. It's a feeling that hit when I understood how few girls got to go on adventures. I started reading science fiction and fantasy long before Harry Potter and The Hunger Games, before mainstream female leads very occasionally got more at the end of the story than together with the protagonist. Sure, there were tomboys and bad girls, but they were freaks and were usually killed off or married off quickly. Lady hobbits didn't bring the ring to Mordor. They stayed at home in the shire. "

― Laurie Penny

87 " By far, the most important distortions and confabulations of memory are those that serve to justify and explain our own lives. The mind, sense-making organ that it is, does not interpret our experiences as if they were shattered shards of glass; it assembles them into a mosaic. From the distance of years, we see the mosaic’s pattern. It seems tangible, unchangeable; we can’t imagine how we could reconfigure those pieces into another design. But it is a result of years of telling our story, shaping it into a life narrative that is complete with heroes and villians, an account of how we came to be the way we are. Because that narrative is the way we understand the world and our place in it, it is bigger than the sum of its parts. If on part, one memory, is shown to be wrong, people have to reduce the resulting dissonance and even rethink the basic mental category: you mean Dad (Mom) wasn’t such a bad (good) person after all? You mean Dad (Mom) was a complex human being? The life narrative may be fundamentally true; Your father or mother might really have been hateful, or saintly. The problem is that when the narrative becomes a major source of self-justification, one the storyteller relies on to excuse mistakes and failings, memory becomes warped in its service. The storyteller remembers only the confirming examples of the parent’s malevolence and forgets the dissonant instances of the parent’s good qualities. Over time, as the story hardens, it becomes more difficult to see the whole parent — the mixture of good and bad, strengths and flaws, good intentions and unfortunate blunders.
Memories create our stories, but our stories also create our memories. "

― Carol Tavris

88 " Instead of focusing on isolated objects and events, we can expand our fixed perspective and allow the deeper process (often taking the form of a mythic narrative of some sort) that is animating events to reveal itself. Instead of superimposing our limiting ideas and beliefs onto the waking dream, we can allow life to show its dreamlike nature to us. "

89 " The principal advantage of narrative writing is that it assists us place our life experiences in a storytelling template. The act of strict examination forces us to select and organize our past. Narration provides an explanatory framework. Human beings often claim to understand events when they manage to formulate a coherent story or narrative explaining what factors caused a specific incident to occur. Stories assist the human mind to remember and make decisions based on informative stories. Narrative writing also prompts periods of intense reflection that leads to more writing that is ruminative. Contemplative actions call for us to track the conscious mind at work rendering an accounting of our weaknesses and our strengths, folly and wisdom. "

90 " Who knows their own story? Certainly it makes no sense when we are living in the midst of it. It's all just clamor and confusion. It only becomes a story when we tell it and retell it. Our small precious recollections that we speak again and again to ourselves and to others, first creating the narrative of our lives and then keeping the story from dissolving into darkness. "

― Nick Cave

91 " Debt . . . . that peculiar nexus where money, narrative or story, and religious belief intersect, often with explosive force. "

― Margaret Atwood , Payback: Debt and the Shadow Side of Wealth

92 " The conventional use of words and of narrative structure is deliberately subverted in decadent fiction; language deviates from the established norms in an attempt to reproduce pathology on a textual level. With its emphasis on aberration and artifice, the decadents' approach to the language of fiction frequently leans towards the baroque and the obscure. "

― , The Decadent Reader: Fiction, Fantasy, and Perversion from Fin-de-Siècle France

93 " Utopia retains throughout its long history the basic form of the narrative of a journey. The traveler in space or time is an explorer who happens upon utopia. He (or, more recently, she) meets its people, usually at first its ordinary people, observes them at work and play, sees their dwellings and their cities... The traveler is, as are we, the more prepared to accept the validity and desirability of the general principles for having seen with his own eyes its effects in the daily life of its inhabitants. "

― , Utopianism

94 " Utopia retains throughout its long history the basic form of the narrative of a journey... First comes the picture of a happy people in a beautiful and well-ordered setting; then comes the lecture on how it all came about, how it works, and, by implication, how it might be made to work in the traveller's own society. "

― , Utopianism

95 " The literary experience extends impression into discourse. It flowers to thought with nouns, verbs, objects. It thinks. Film implodes discourse, it deliterates thought, it shrinks it to the compacted meaning of the preverbal impression or intuition or understanding. You receive what you see, you don't have to think it out. . . . Fiction goes everywhere, inside, outside, it stops, it goes, its action can be mental. Nor is it time-driven. Film is time-driven, it never ruminates, it shows the outside of life, it shows behavior. It tends to the simplest moral reasoning. Films out of Hollywood are linear. The narrative simplification of complex morally consequential reality is always the drift of a film inspired by a book. Novels can do anything in the dark horrors of consciousness. Films do close-ups, car drive-ups, places, chases and explosions. "

― E.L. Doctorow

96 " Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love. "

― Anne Carson , Eros the Bittersweet

97 " This was an adequate enough performance, as improvisations go. The only problem was that my entire education, everything I had ever been told or had told myself, insisted that the production was never meant to be improvised: I was supposed to have a script, and had mislaid it. I was supposed to hear cues, and no longer did. I was mean to know the plot, but all I knew was what I saw: flash pictures in variable sequence, images with no " meaning" beyond their temporary arrangement, not a movie but a cutting-room experience. In what would probably be the middle of my life I wanted still to believe in the narrative and in the narrative’s intelligibility, but to know that one could change the sense with every cut was to begin to perceive the experience as more electrical than ethical. "

98 " I'm working on my own life story. I don't mean I'm putting it together; no, I'm taking it apart. If you'd wanted the narrative line you should have asked earlier, when I still knew everything and was more than willing to tell. That was before I discovered the virtues of scissors, the virtues of matches. "

― Margaret Atwood , The Tent

99 " Anything I run across can light up the circuitry of my brain, and set me on an adventure. To research strains of yeast; hiccup fetishists; the proper use of inverse, obverse, converse and reverse; the ratio of main narrative to tangent, of forward action to aside. What else do we do but quest, pursue meaning in the information wash? Where does that storm sewer opening from the river into the city’s underneath go to, anyhow? I grab a headlamp and head in. It’s long and low and dark and stinks and extends for miles. Underneath the city is another city. The one above begins to disappear. That’s what we’re after, isn’t it? To disappear? To venture into darkness, to let what we know or think we know recede for an hour, a day, a novel’s length, and see what meaning can be made of what remains? "

― Ander Monson

100 " Human beings do terrible things to each other and the tragic thing about it all is the way the remembrance of past hurt can rob us of our future and become the narrative of our lives. "

― Richard Holloway , On Forgiveness: How Can We Forgive the Unforgiveable?