Elinor had read countless stories in which the main characters fell sick at some point because they were so unhappy. She had always thought that a very romantic idea, but she’d dismissed it as a pure invention of the world of books. All those wilting heroes and heroines who suddenly gave up the ghost just because of unrequited love or longing for something they’d lost! Elinor had always enjoyed their sufferings—as a reader will. After all, that was what you wanted from books: great emotions you’d never felt yourself, pain you could leave behind by closing the book if it got too bad. Death and destruction felt deliciously real conjured up with the right words, and you could leave them behind between the pages as you pleased, at no cost or risk to yourself.

I will tell these stories...because to do anything else would be something less than human. I speak to these people, and I speak to you because I cannot help it. It gives me strength, almost unbelievable strength, to know that you are there. I covet your eyes, your ears, the collapsible space between us. How blessed are we to have each other? I am alive and you are alive so we must fill the air with our words. I will fill today, tomorrow, every day until I am taken back to God. I will tell stories to people who will listen and to people who don't want to listen, to people who seek me out and to those who run. All the while I will know that you are there. How can I pretend that you do not exist? It would be almost as impossible as you pretending that I do not exist.

The will to truth is enshrined in the mind. It is undeniable, inescapable, mutable only if one’s humanity itself is rejected, itself muted. Yet the form of this truth, whether it be elaborate, simple, exclusive and regulatory or comprehensive and positive… this is a matter of aesthetics, taste......It is all inherently meaningless, the puzzle just as much as the pieces themselves, ephemeral. Yet more than this it is concrete, eternal, heavy and inescapable, a preponderous amalgam of things small and large, the actuality of which is imminent, the meaning of which is too great to acknowledge, let alone comprehend.So we tell stories. We read stories, write them, consider them and like them, or not. Simply ways, simple ways, to limit the All to that which can be understood.

To call up modern versions of the old stories, one has to go forth and live life. As a result then, one will have the challenge of not only living the story, taking it all in, but also interpreting it in whatever ways are useful. So too, one will reap the reward of telling all about it afterward. One's interest in the world, and in having experiences, is really an interest in hearing, having, living one more story, and then one more, then one more story, till one cannot live them out loud any longer. Perhaps it should be said that the drive to live out stories is as deep in the psyche, when awakened, as it is compelling to the psyche to listen to stories and learn from them. Clarissa Pinkola Estes, Ph.D. in Introduction to the 2004 edition of The hero with a thousand faces (J.Campbell)

So, you may ask, what is the use of studying the world of imagination where anything is possible and anything can be assumed, where there are no rights or wrongs and all arguments are equally good? One of the most obvious uses, I think, is its encouragement of tolerance. In the imagination our own beliefs are also only possibilities, but we can also see the possibilities in the beliefs of others. Bigots and fanatics seldom have any use for the arts, because they're so preoccupied with their beliefs and actions that they can't see them as also possibilities. It's possible to go to the other extreme, to be a dilettante so bemused by possibilities that one has no convictions or power to act at all. But such people are much less common than bigots, and in our world much less dangerous.

If I am alive this is my book, and my father lives now in the afterlife that is a book, a thing not vague or virtual but something you can hold and feel and smell because to my mind heaven like life must be a thing sensual and real. And my book will be a river and have the Salmon literal and metaphoric leaping inside it and be called History of the Rain, so that his book does not perish, and you will know my book exists because of him and because of his books and his aspiration to leap up, to rise. You will know that I found him in his books, in the covers his hands held, the pages they turned, in the paper and the print, but also in the worlds those books contained, where now I have been and you have been too. You will know the story goes from the past to the present and into the future, and like a river flows.

Stories are masks of God.That's a story, too, of course. I made it up, in collaborations with Joseph Campbell and Scheherazade, Jesus and the Buddha and the Brother's Grimm.Stories show us how to bear the unbearable, approach the unapproachable, conceive the inconceiveable. Stories provide meaning, texture, layers and layers of truth.Stories can also trivialize. Offered indelicately, taken too literally, stories become reductionist tools, rendering things neat and therefore false. Even as we must revere and cherish the masks we variously create, Campbell reminds us, we must not mistake the masks of God for God.So it seemes to me that one of the most vital things we can teach our children is how to be storytellers. How to tell stories that are rigorously, insistently, beautifully true. And how to believe them.

I know. It's all wrong. By rights we shouldn't even be here. But we are. It's like in the great stories, Mr. Frodo. The ones that really mattered. Full of darkness and danger, they were. And sometimes you didn't want to know the end. Because how could the end be happy? How could the world go back to the way it was when so much bad had happened? But in the end, it's only a passing thing, this shadow. Even darkness must pass. A new day will come. And when the sun shines it will shine out the clearer. Those were the stories that stayed with you. That meant something, even if you were too small to understand why. But I think, Mr. Frodo, I do understand. I know now. Folk in those stories had lots of chances of turning back, only they didn't. They kept going. Because they were holding on to something.

Yes", Kumiko said, seriously. "Exactly that. The extraordinary happens all the time. So much, we can't take it. Life and happiness and heartache and love. If we couldn't put it in story - ""And explain it -""No!" she said, suddenly sharp. "Not explain. Stories do not explain. They seem to, but all they provide is a starting point. The story never ends at the end. There is always after. And even within itself, even by saying that this version is the right one, it suggests other versions, versions that exist in parallel. No, story is not an explanation, it is a net, a net through which the truth flows. The net catches some of the truth, but not all, never all, only enough so that we can live with the extraordinary without it killing us." She sagged a little, as if exhausted by this speech. "As it surely, surely would.

Think of all the stories you've heard, Bast. You have a young boy, the hero. His parents are killed he sets out for vengeance. What next?"Bast hesitated, his expression puzzled. Chronicler answered the question instead. "He finds help. A clever talking squirrel. An old drunken swordsman. A mad hermit in the woods. That sort of thing."Kvothe nodded. "Exactly! He finds the mad hermit in the woods, proves himself worthy, and learns the names of all things, just like Taborlin the Great. Then with these powerful magics at his beck and call, what does he do?"Chronicler shrugged. "He finds the villains and kills them." "Of course," Kvothe said grandly. "Clean, quick, and easy as lying. We know how it ends practically before it starts. That's why stories appeal to us. They give us the clarity and simplicity our real lives lack.

...we have, each of us, a story that is uniquely ours, a narrative arc that we can walk with purpose once we figure out what it is. It's the opposite to living our lives episodically, where each day is only tangentially connected to the next, where we are ourselves the only constants linking yesterday to tomorrow. There is nothing wrong with that, and I don't want to imply that there is by saying how much this shocked me -- just that it felt so suddenly, painfully right to think that I have tapped into my Long Tale, that I have set my feet on the path I want to walk the rest of my life, and that it is a path of stories and writing and that no matter how many oceans I cross or how transient I feel in any given place, I am still on my Tale's Road, because having tapped it, having found it, the following is inevitable....

Woolrich had a genius for creating types of story perfectly consonant with his world: the noir cop story, the clock race story, the waking nightmare, the oscillation thriller, the headlong through the night story, the annihilation story, the last hours story. These situations, and variations on them, and others like them, are paradigms of our position in the world as Woolrich sees it. His mastery of suspense, his genius (like that of his spiritual brother Alfred Hitchcock) for keeping us on the edge of our seats and gasping with fright, stems not only from the nightmarish situations he conjured up but from his prose, which is compulsively readable, cinematically vivid, high-strung almost to the point of hysteria, forcing us into the skins of the hunted and doomed where we live their agonies and die with them a thousand small deaths.

لا أعرف لم تمسكت بك كل تلك الفترة، كان ذلك القصر الأفلاطوني معقل أفكاري التي صغتها قصائد عشق وترانيم أشواق اغتيلت قبل أن تكمل سنوات طفولتها الأولى.

It is important,” the man in the grey suit interrupts. “Someone needs to tell those tales. When the battles are fought and won and lost, when the pirates find their treasures and the dragons eat their foes for breakfast with a nice cup of Lapsang souchong, someone needs to tell their bits of overlapping narrative. There’s magic in that. It’s in the listener, and for each and every ear it will be different, and it will affect them in ways they can never predict. From the mundane to the profound. You may tell a tale that takes up residence in someone’s soul, becomes their blood and self and purpose. That tale will move them and drive them and who knows what they might do because of it, because of your words. That is your role, your gift. Your sister may be able to see the future, but you yourself can shape it, boy. Do not forget that.

It is important…Someone needs to tell those tales. When the battles are fought and won and lost, when the pirates find their treasures and the dragons eat their foes for breakfast with a nice cup of Lapsang souchong, someone needs to tell their bits of overlapping narrative. There’s magic in that. It’s in the listener, and for each and ever ear it will be different, and it will affect them in ways they can never predict. From the mundane to the profound. You may tell a tale that takes up residence in someone’s soul, becomes their blood and self and purpose. That tale will move them and drive them and who knows what they might do because of it, because of your words. That is your role, your gift. Your sister may be able to see the future, but you yourself can shape it, boy. Do not forget that…There are many kinds of magic, after all.