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1 " Fairytales by nature only talk about the victors. The survivors. Nobody speaks about what happens to those who failed, except in the abstract: as cautionary tales to guide others onto the path to success. How many brave knights fell to the dragon before he was slayed by the noble prince? How many children burned to a crisp and eaten before the wicked witch received her due? These stories are lost, but the lesson behind them is not: it is not enough to be merely pure and good. "
― Nenia Campbell ,
2 " In the end, this volume should be read a s a collection of love stories, Above all, they are tales of love, not the love with which so many stories end – the love of fidelity, kindness and fertility – but the other side of love, its cruelty, sterility and duplicity. In a way, the decadents did accept Nordau's idea of the artist as monster. But in nature, the glory and panacea of romanticism, they found nothing. Theirs is an aesthetic that disavows the natural and with it the body. The truly beautiful body is dead, because it is empty. Decadent work is always morbid, but its attraction to death is through art. What they refused was the condemnation of that monster. And yet despite the decadent celebration of artifice, these stories record art's failure in the struggle against natural horror. Nature fights back and wins, and decadent writing remains a remarkable account of that failure. "
― , The Decadent Reader: Fiction, Fantasy, and Perversion from Fin-de-Siècle France
3 " What I want to tell you as you read these stories is that I both found and lost God a hundred times over. In fact, maybe I've never actually found God at all, but imagining that I have indeed found something so much larger and more beautiful than I can explain is more often enough for me. "
― Ashley Mae Hoiland , One Hundred Birds Taught Me to Fly: The Art of Seeking God
4 " The most sensitive period of their developmental age, when the kids are supposed to be taught to question everything and nourish their reasoning skills, they are taught that God created the world in seven days – that the human race did not evolve from apes through millions of years, rather it came from the amorous congress between two God-made humans, named Adam and Eve. And if you ask why? The answers of the uneducated primordial teachers would be that the scriptures say so. And now if you ask, can’t the scriptures be wrong – do I have to take these stories literally? They would lash out with rage and shout at you – how dare you question the scriptures! Every single word in it is true. There is no greater truth than the truth of these sacred texts. "
― Abhijit Naskar , The Education Decree
5 " As a fantasist, I well understand the power of escapism, particularly as relates to romance. But when so many stories aimed at the same audience all trumpet the same message – And Lo! There shall be Two Hot Boys, one of them your Heart’s Intended, the other a vain Pretender who is also hot and with whom you shall have guilty makeouts before settling down with your One True Love – I am inclined to stop viewing the situation as benign and start wondering why, for instance, the heroines in these stories are only ever given a powerful, magical destiny of great importance to the entire world so long as fulfilling it requires male protection, guidance and companionship, and which comes to an end just as soon as they settle their inevitable differences with said swain and start kissing.I mean to invoke is something of the danger of mob rule, only applied to narrative and culture. Viz: that the comparative harmlessness of individuals does not prevent them from causing harm en masse. Take any one story with the structure mentioned above, and by itself, there’s no problem. But past a certain point, the numbers begin to tell – and that poses a tricky question. In the case of actual mobs, you’ll frequently find a ringleader, or at least a core set of agitators: belligerent louts who stir up feeling well beyond their ability to contain it. In the case of novels, however, things aren’t so clear cut. Authors tell the stories they want to tell, and even if a number of them choose to write a certain kind of narrative either in isolation or inspired by their fellows, holding any one of them accountable for the total outcome would be like trying to blame an avalanche on a single snowflake. Certainly, we may point at those with the greatest (arguable) influence or expostulate about creative domino effects, but as with the drop that breaks the levee, it is impossible to try and isolate the point at which a cluster of stories became a culture of stories – or, for that matter, to hold one particular narrative accountable for the whole. "
― Foz Meadows
6 " Humans are a story telling species. Throughout history we have told stories to each other and ourselves as one of the ways to understand the world around us. Every culture has its creation myth for how the universe came to be, but the stories do not stop at the big picture view; other stories discuss every aspect of the world around us. We humans are chatterboxes and we just can't resist telling a story about just about everything.However compelling and entertaining these stories may be, they fall short of being explanations because in the end all they are is stories. For every story you can tell a different variation, or a different ending, without giving reason to choose between them. If you are skeptical or try to test the veracity of these stories you'll typically find most such stories wanting. One approach to this is forbid skeptical inquiry, branding it as heresy. This meme is so compelling that it was independently developed by cultures around the globes; it is the origin of religion—a set of stories about the world that must be accepted on faith, and never questioned. "
7 " All these stories of Janamsakhi were like an artistic instrument that was yielded more to spread Nanak’s spiritual sovereignty as a mystical prophet than as an effective teacher in flesh and blood. In the midst of ignorance and mystical craving, they provided a simple method to guide people, or rather allure them to a newly formed religious path by sermonizing through stories of mystical non-sense. "
― Abhijit Naskar , Neurons, Oxygen & Nanak
8 " It’s usually obvious when you’re talking to somebody a level above you, because they see lots of things instantly when those things take considerable work for you to figure out. These are good people to learn from, because they remember what it’s like to struggle in the place where you’re struggling, but the things they do still make sense from your perspective (you just couldn’t do them yourself). Talking to somebody two or more levels above you is a different story. They’re barely speaking the same language, and it’s almost impossible to imagine that you could ever know what they know. You can still learn from them, if you don’t get discouraged, but the things they want to teach you seem really philosophical, and you don’t think they’ll help you—but for some reason, they do. Somebody three levels above is actually speaking a different language. They probably seem less impressive to you than the person two levels above, because most of what they’re thinking about is completely invisible to you. From where you are, it is not possible to imagine what they think about, or why. You might think you can, but this is only because they know how to tell entertaining stories. Any one of these stories probably contains enough wisdom to get you halfway to your next level if you put in enough time thinking about it. Getting organized can bring us all to the next level in our lives. "
9 " I seem to know all the cliches, but not how to put them together in a believable way. Or else these stories are terrible and grandiose precisely because all the cliches intertwine in an unrealistic way and you can't disentangle them. But when you actually live a cliche, it feels brand new, and you are unashamed. "
― Umberto Eco
10 " Romance novels feature nuanced portrayals of female characters having adventures, making choices, and accepting themselves just as they are. When we say these stories are silly and unrealistic, we are telling young girls not to expect to be the heroines in their own real lives. "
― Maya Rodale , Dangerous Books for Girls: The Bad Reputation of Romance Novels Explained
11 " We think that history is created in the big things, in the big events, but history is also created in the small things that we do every day, in the personal choices we make— to think or not to think, to hold our tongues or to speak up, to act or not to act. Our actions have a ripple effect on those around us. Every time we conform or don't, we're shaping the world into our vision or someone else's vision. The universe isn't made up of atoms it's made up of stories, and these stories are shaped in college campuses and coffee houses around the country, not just in boardrooms and government buildings. "
― Sharanya Haridas
12 " Where we can get shagged up is the stories we tell ourselves that we rarely share. The stories about how we can’t do something because we aren’t good enough, or smart enough, or capable enough. These stories cause us problems because we often keep them secret, hidden away in some dark closet in our mind, sometimes even from ourselves. And this, my friend, is a problem. "
― Lyssa deHart , StoryJacking: Change Your Inner Dialogue, Transform Your Life
13 " Why are so many of us enspelled by myths and folk stories in this modern age? Why do we continue to tell the same old tales, over and over again? I think it's because these stories are not just fantasy. They're about real life. We've all encountered wicked wolves, found fairy godmothers, and faced trial by fire. We've all set off into unknown woods at one point in life or another. We've all had to learn to tell friend from foe and to be kind to crones by the side of the road. . . . "
― Terri Windling
14 " Dr. Talbon was struck by another very important thing. It all hung together. The stories Cheryl told — even though it was upsetting to think people could do stuff like that — they were not disjointed They were not repetitive in terms of " I've heard this before" . It was not just she'd someone trying consciously or unconsciously to get attention. really processed them out and was done with them. She didn't come up with them again [after telling the story once and dealing with it]. Once it was done, it was done. And I think that was probably the biggest factor for me in her believability. I got no sense that she was using these stories to make herself a really interesting person to me so I'd really want to work with her, or something. Or that she was just living in this stuff like it was her life. Once she dealt with it and processed it, it was gone. We just went on to other things. 'Throughout the whole thing, emotionally Cheryl was getting her life together. Parts of her were integrating where she could say," I have a sense that some particular alter has folded in with some basic alter" , and she didn't bring it up again. She didn't say that this alter has reappeared to cause more problems. That just didn't happen. The therapist had learned from training and experience that when real integration occurs, it is permanent and the patient moves on. "
15 " Perhaps I should admit on the title page that this book is " By L. Frank Baum and his correspondents," for I have used many suggestions conveyed to me in letters from children. Once on a time I really imagined myself " an author of fairy tales," but now I am merely an editor or private secretary for a host of youngsters whose ideas I am requested to weave into the thread of my stories...My, what imaginations these children have developed! Sometimes I am fairly astounded by their daring an genius. There will be no lack of fairy-tale authors in the future, I am sure. My readers have told me what to do with Dorothy, and Aunt Em and Uncle Henry, and I have obeyed their mandates. They have also given me a variety of subjects to write about in the future: enough, in fact, to keep me busy for some time. I am very proud of this alliance. Children love these stories because children have helped to create them. My readers know what they want and realize I try to please them. The result is satisfactory to the publishers, to me, and (I am quite sure) to the children. I hope, my dears, it will be a long time before we are obliged to dissolve partnership. "
16 " Television and cinema were all very well, but these stories happened to other people. The stories I found in books happened inside my head. I was, in some way, there.It's the magic of fiction: you take the words and you build them into worlds. "
― Neil Gaiman , Stories: All-New Tales
17 " We teach our girls how not to get raped with a sense of doom, a sense that we are fighting a losing battle. When I was writing this novel, friend after friend came to me telling me of something that had happened to them. A hand up their skirt, a boy who wouldn’t take no for an answer, a night where they were too drunk to give consent but they think it was taken from them anyway. We shared these stories with one another and it was as if we were discussing some essential part of being a woman, like period cramps or contraceptives. Every woman or girl who told me these stories had one thing in common: shame. ‘I was drunk . . . I brought him back to my house . . . I fell asleep at that party . . . I froze and I didn’t tell him to stop . . .’ My fault. My fault. My fault. When I asked these women if they had reported what had happened to the police, only one out of twenty women said yes. The others looked at me and said, ‘No. How could I have proved it? Who would have believed me?’ And I didn’t have any answer for that. "
― Louise O'Neill , Asking For It
18 " I don’t know if this happens in all relationships, but I just got so sick of his all too familiar stories. I had heard these stories so many times that I could have recited them myself. "
― Brenda Perlin
19 " The accounts of rape, wife beating, forced childbearing, medical butchering, sex-motivated murder, forced prostitution, physical mutilation, sadistic psychological abuse, and other commonplaces of female experience that are excavated from the past or given by contemporary survivors should leave the heart seared, the mind in anguish, the conscience in upheaval. But they do not. No matter how often these stories are told, with whatever clarity or eloquence, bitterness or sorrow, they might as well have been whispered in wind or written in sand: they disappear, as if they were nothing. The tellers and the stories are ignored or ridiculed, threatened back into silence or destroyed, and the experience of female suffering is buried in cultural invisibility and contempt… the very reality of abuse sustained by women, despite its overwhelming pervasiveness and constancy, is negated. It is negated in the transactions of everyday life, and it is negated in the history books, left out, and it is negated by those who claim to care about suffering but are blind to this suffering.The problem, simply stated, is that one must believe in the existence of the person in order to recognize the authenticity of her suffering. Neither men nor women believe in the existence of women as significant beings. It is impossible to remember as real the suffering of someone who by definition has no legitimate claim to dignity or freedom, someone who is in fact viewed as some thing, an object or an absence. And if a woman, an individual woman multiplied by billions, does not believe in her own discrete existence and therefore cannot credit the authenticity of her own suffering, she is erased, canceled out, and the meaning of her life, whatever it is, whatever it might have been, is lost. This loss cannot be calculated or comprehended. It is vast and awful, and nothing will ever make up for it. "
20 " What happened to us? It was a question that interested her. Most people seemed to believe that they were experts of their own life story. They had a set of memories that they strung like beads, and this necklace told a sensible tale. But she suspected that most of these stories would fall apart under strict examination--that, in fact, we were only peeping through a keyhole of our lives, and the majority of the truth, the reality of what happened to us, was hidden. Memories were no more solid than dreams...What happened to us? She drew smoke, considering the question. Was it possible that we would never really know? What if we were not, actually, the curators of our own lives? "
― Dan Chaon , Ill Will
