“Mythology can be defined as the sacred history of humankind. This is different from what we call history. Mythical stories, when you trace them back to their origin, often have a sacredness, a holy quality that comes from the bedrock of lore from which they emerged.”
“All through the winter months, Rose kept up the practice of sitting by the fire with Peter and a book telling him stories. The doctor stopped to listen one afternoon out of curiosity, and heard her say, “…then the Mermaid said to the Pirate, ‘I would rather perish with the boy than go with you.’ And the Pirate said, ‘So be it,’ and sealed them both up inside the treasure chest. Then the pirate’s crew got together to lift the chest up, and with a nod from their captain, they cast the chest overboard into the sea. The chest was so heavy, it sank in the water in spite of the air inside, and in seconds it was gone from view, disappearing into the deep blue depths. If the boy and the mermaid were unable to free themselves, they would surely perish.” Peter’s eyes were wide with interest. “But- I can’t tell you what happened- you’ll have to find out next time.” She stopped and closed the book. Peter shook his head and put his hand on the book. She laughed and said, “You want to hear more now, do you?”
“Plot comes from the mind but the characters come from the heart!”
“Scratch the surface in a typical boardroom and we re all just cavemen with briefcases, hungry for a wise person to tell us stories.”
“Kvothe continued, smiling himself “I see you laugh. Very well, for simplicity’s sake, let us assume I am the center of creation. In doing this, let us pass over innumerable boring stories: the rise and fall of empires, sagas of heroism, ballads of tragic love. Let us hurry forward to the only tale of any real importance.” His smile broadened. “Mine.”
“Now Christianity proposes a completely different account of how history comes to a climax and what precisely constitutes the new order of the ages—which helps to explain why so many of modernity’s avatars, from Diderot to Christopher Hitchens, have specially targeted Christianity. On the Christian reading, history reached its highpoint when a young first-century Jewish rabbi, having been put to death on a brutal Roman instrument of torture, was raised from the dead through the power of the God of Israel. The state-sponsored murder of Jesus, who had dared to speak and act in the name of Israel’s God, represented the world’s resistance to the Creator. It was the moment when cruelty, hatred, violence, and corruption—symbolized in the Bible as the watery chaos—spent itself on Jesus. The resurrection, therefore, showed forth the victory of the divine love over those dark powers. St. Paul can say, “I am certain that neither death nor life, neither angels nor principalities, nor any other creature can separate us from the love of God,” precisely because he lived on the far side of the resurrection.”
“The tragic fear and pity may be aroused by the Spectacle; but they may also be aroused by the very structure and incidents of the play—which is the better way and shows the better poet. The Plot in fact should be so framed that even without seeing the things take place, he who simply hears the account of them shall be filled with horror and pity at the incidents; which is just the effect that the mere recital of the story in Oedipus would have on one. To produce this same effect by means of the Spectacle is less artistic, and requires extraneous aid.”
“Miss Appleby, her library books, and her story-telling sessions were very popular with all the children in Heavenly Valley. To Nancy and Plum they were a magic carpet that whisked them out of the dreariness and drudgery of their lives at Mrs. Monday s and transported them to palaces in India, canals in Holland, pioneer stockades during the Indian wars, cattle ranches in the West, mountains in Switzerland, pagodas in China, igloos in Alaska, jungles in Africa, castles in England, slums in London, gardens in Japan, or most important of all, into happy homes where there were mothers and fathers and no Mrs. Mondays or Marybelles.”
“All of our lives are a living, breathing story, and each heartbeat means a new page has been turned; chapters don t close, they continue.”
“Stories matter. They shape our lives, expectations, and dreams. They are the warp and weave of our human existence, binding us into a fabric far stronger than any individual element”
“The truth is that, just as in the other imitative arts one imitation is always of one thing, so in poetry the story, as an imitation of action, must represent one action, a complete whole, with its several incidents so closely connected that the transposal or withdrawal of any one of them will disjoin and dislocate the whole. For that which makes no perceptible difference by its presence or absence is no real part of the whole.”
“Stories twist and turn and grow and meet and give birth to other stories. Here and there, one story touches another, and a familiar character, sometimes the hero, walks over the bridge from one story into another.”
“This is the man who will be my grandfather—the man who will be the man who was my grandfather. The tenses slur and slide under the pressure of collapsed time.”
“The Rough Beast snorted. “You don’t get it at all, buddy. It’s not about wrestling. It’s about stories. We’re storytellers.” Caperton studied him. “Somebody at my job just said that.” “It’s true! You have to be able to tell the story to get people on board for anything. A soft drink, a suck sesh, elective surgery, gardening, even your thing--public space? I prefer private space, but that’s cool. Anyway, nobody cares about anything if there isn’t a story attached. Ask the team that wrote the Bible. Ask Vincent Allan Poe.” “But doesn’t it seem kind of creepy?” Caperton said. “All of us just going around calling ourselves storytellers?” The Rough Beast shrugged. “Well, you can be negative. That’s the easy way out.”
“You see it is likely that, when my brother told the story, that night when we got home and my mother and sister sat listening, I did not think he got the point. He was too young and so was I. A thing so complete has its own beauty.”
“The operation would be in a week...I didn t know if I would survive. How I longed to go back to reading! There was nowhere I longed to be more than the university campus. I was preparing for a master s on fantasy literature. I was interested in why the country s literature did not include this distinctive genre. I had this great passion for studying and writing, which they explained in my household with the story of the umbilical cord. When I was born, and at my father s request, my elder sister buried my umbilical cord in the courtyard of her primary school. My father attributed my {brother s} academic failure to the fact that my mother buried his umbilical cord in the garden of our house.”
“Even though this princess loved the oak and the castle and her mother, the queen, she tired of the beautiful swamp, of her surroundings. You see, as she grew she came to realize that if she looked too closely, she could recognize evil things in the swamp as well as all the extraordinary things she loved. There were hurtful, malicious things, things that grew quickly, quick enough to ensnare her and smother her if she wasn t careful, maybe even quick enough to steal her life away.”