Celeste Ng offers compelling proof that storytellers aren’t so different from scientists: both explore the same very large, very dark, very crowded room, poking and prodding and tirelessly asking, what if?
Like to doodle in the margins of your stories? Sketch in the park until inspiration for a story strikes? The folks behind Art House Co-Op – out of the Brooklyn Art Library – who came up with the traveling Sketchbook Project, that sends themed sketchbooks around the country on exhibit, have just announced The Fiction Project. Like The Sketchbook Project, anyone can participate, for the $25 entry fee they’ll send you a book to fill: The Fiction Project is an opportunity to tell stories in a different way by fusing text and visual art. Add your voice to this year’s […]
The third issue of The Nashville Review – an online celebration of storytelling out of Vanderbilt University – is live, and it’s a doozy. You can read copious amounts of fiction, listen to musical/poetic mashups between the likes of composer Andrew Bird and poet Galway Kinnell (I always like a little music and poetry as a foil to fiction), straight-up poems, interviews, comics, experimental dance. I feel like here is where one of those Batman & Robin “Kabow!” graphics should just obliterate this blog post. The NR’s mission is also the kind of benevolent, gather round the campfire and tell […]
One year after President Obama’s inauguration, everyone seems to have either criticism or advice for his administration–for pushing health care reform; for not yet passing health care reform; for not waving his magic wand to fix the economy, eradicate H1N1, and end both wars; for not leaping tall buildings in a single bound. But author Junot Diaz points out a different problem in an an essay in the New Yorker: President Obama’s lack of storytelling since his election. All year I’ve been waiting for Obama to flex his narrative muscles, to tell the story of his presidency, of his Administration, […]
Rabih Alameddine’s latest novel, The Hakawati, is itself about the power of a good story—its ability to engage us and, when collected with other stories, make us who we are. The narrative takes readers from a hospital in present-day Beirut to a Lebanese village in the years before World War I, to the mythic medieval past of the Middle East. Some stories simply begin of their own accord, and others grow from tales already being told. For instance, the story of the hero Baybars, which stretches across the novel, is told within another story by an emir who hopes, through the telling, to ensure his child will be a boy–further testament to the power of (and power of believing in) stories.
