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Read through the most famous quotes by topic #tories
There’s an immense dramatic possibility in describing that universe. The books, for me, were an enormous relief in that sense of how they were written to allow primary emotion, elemental emotion, to matter enormously but to give the thing an extraordinary flow so you don’t notice at what point that you’re actually overwhelmed by this. There’s no showiness, at all. It’s the opposite of showiness. I think, if it was a painting, it could be very grey abstract, almost, with some lines and very, very beautiful. But you wouldn’t have a notion of where the beauty was. (Talking about the short stories of Alistair MacLeod, who he discovered while working on The Modern Library.) ↗
Nothing truly beautiful without its element of strangeness, nothing whole without its own incongruity, these (Jacksonville-area pioneer house) ruins sand up from the earth in sacred conjunction. These ruins conjoin the earth and the manmade, moving from one to the other and back again. The Browards built their house out of shell and limestone, and limestone forms naturally from the shells and skeletons of miniscule sea creatures over great periods of time. The Browards shaped the earth upright toward the sky. THey shaped it with doorframes and windows and chimneys. THey shaped the earth up around them as a shelter. But shaped earth was always the earth. Now the walls fall back down and join once again the ground, taken over by roots of ferns and weeds and small trees. The house was always the ground, only contained in an upward suspension. The house was always the earth, but brought up into architecture, and now the house that was always the earth crumbles back into the earth and nourishes new green things -- dog fennel and morning glories and palmettoes and cabbage palms and cedars. A true symbol of sacredness of the earth is earth's reclaiming of human ingenuity. ↗
I tell the story to you now, but in each telling the story itself changes a little, changes direction, and that in turn changes you and me. So be very careful not only in how you repeat it but in how you remember it, goslings. More often than you realize it, the world is shaped by two things -- stories told and the memories they leave behind. ↗
Our dreams and stories may contain implicit aspects of our lives even without our awareness. In fact, storytelling may be a primary way in which we can linguistically communicate to others--as well as to ourselves--the sometimes hidden contents of our implicitly remembering minds. Stories make available perspectives on the emotional themes of our implicit memory that may otherwise be consciously unavailable to us. This may be one reason why journal writing and intimate communication with others, which are so often narrative processes, have such powerful organizing effects on the mind: They allow us to modulate our emotions and make sense of the world. (p. 333) ↗
The Story of the Woman with Three Brothers" A woman once had three brothers. They all had wives, but she was not married. Though she was virtuous and hardworking, her brothers would not offer a dowry. How unhappy she was! What could she do? She's so miserable, she goes to the garden and hangs herself from a tree. The eldest brother walks through the garden and pretends not to see her. The second brother walks through the garden and pretends not to see that she's dead. The third brother sees her, bursts into tears, and takes her body inside. A woman once had three brothers. When she died, no one wanted to care for her body. Though she had been virtuous and hardworking, her brothers would not serve her. How cruel this was! What would happen? She is ignored in death as in life, until her body begins to stink. The eldest brother gives one piece of cloth to cover her body. The second brother gives two pieces of cloth. The third brother wraps her in as many clothes as possible so she'll be warm in the afterworld. A woman once had three brothers. Now dressed for her future as a spirit, her brothers won't spend any money on a coffin. Though she was virtuous and hardworking, her brothers are stingy. How unfair this was! Would she ever find rest? All alone, all alone, she plans her haunting days. The eldest brother says, "We don't need to bury her in a box. She is fine the way she is." The second brother says, "We could use that old box in the shed." The third brother says, "This is all the money I have. I will go and buy her a coffin." A woman once had three brothers. They have come so far, but what will happen to Sister now? Elder brother- mean in spirit; Second brother- cold in heart; but in Third brother love may come through. Elder brother says, "Let's bury her here by the water buffalo road." (meaning she would be trampled for all eternity) Second brother says, "Let's bury her here under the bridge." (meaning she would wash away) But third brother - good in heart, filial in all ways - says, "We will bury her behind the house so everyone will remember her. ↗
Stories start in all sorts of places. Where they begin often tells the reader of what to expect as they progress. Castles often lead to dragons, country estates to deeds of deepest love (or of hate), and ambiguously presented settings usually lead to equally as ambiguous characters and plot, leaving a reader with an ambiguous feeling of disappointment. That's one of the worst kinds. ↗
We walk until there aren't more houses, all the way to the part of the beach where the current makes the waves come in then rush back out so that the two waves clash, water casting up like a geyser. We watch that for a while and then Scottie says, "I wish Mom was here." I'm thinking the exact same thought. That's how you know you love someone, I guess, when you can't experience anything without wishing the other person were there to see it, too. Every day I kept track of anecdotes, occurrences, and gossip, bullet-pointing the news in my head and even rehearsing my stories before telling them to Joanie in bed at night. ↗
Of course I know that the twins are only words on a page, and I'm certainly not the sort of writer who talks to his characters or harbours any illusions about the creative process. But at the same time, I think it's juvenile and arrogant when literary writers compulsively remind their readers that the characters aren't real. People know that already. The challenge is to make an intelligent reader suspend disbelief, to seduce them into the reality of a narrative. ↗
