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The writer of any book inevitably accrues debts, and when its theme is as interdisciplinary as this one those debts are particularly keenly felt. During the near-decade that it has taken to complete this work, I have received generous help from a wide range of people. I am conscious of the inadequacy of any acknowledgment I can now give in return.
THE NATURE OF THE BOOK. Print and Knowledge in the making. ADRIAN JOHNS. THE UNIVERSITY OF CHICAGO PRESS.CHICAGO AND LONDON
I don’t know [to start like a Linkin Park song], but fiction writers owe a lot of what they write to the writers they read.
Sometimes reading earlier authors we hadn’t read before those that we already have [more contemporary ] is a discovery in itself. To know where certain ideas came from is a delight.
Hablemos primero de “correlacionar” las palabras con la realidad. Resulta fallido porque nuestro conocimiento del mundo es, en sí mismo, imperfecto. Lo que resulta cierto en un sentido obvio cuando hablamos de los axiomas de los terraplanistas o los devotos de otros delirios; pero lo es también de formas más interesantes. El intento más impresionante de la humanidad por despejar los prejuicios y obtener la verdad es la tradición científica, empero no se puede asegurar que la ciencia tenga la palabra final y última de ningún tema.
THE BRIDGE AND THE RIVER Or The Ironies of Communication GRAHAM DUNSTAN MARTIN French, Edinburgh
Empezamos con la noción de que la ciencia no lo explica todo. No puede explicarlo todo porque no lo ha encontrado todo. En segundo lugar, está la realidad imaginada por venir. No solo los nuevos hechos que aún no se descubren pero las nuevas ideas que la filosofía y la ley inventen; lo que cambia nuestra relación con las palabras y el mundo que ya estaba allí.
¿Cómo buscas darle nueva forma al mundo con tu ficción? Pasto kalo.
Here and there in my travels I learned that some cultures are not entirely comfortable with the term «hero» to begin with. Australia and Germany are two cultures that seem slightly «herophobic.»
THE WRITER’S JOURNEY ~ THIRD EDITION. Christopher Vogler. Published by Michael Wiese Productions
More than societies being herophobic, I’d like to point out they have realized imagined realities can be misused. They can be manipulated for governments to push people to go war. Wars in which the only sense is the ego of the fill in the blank with the leader of turn’s title. Too much for spending time in a trench or murdering kids and terrorists by pressing a button. Or too much to blindly go following certain idealisms such as genocide in order to have a proper order of things [ I know… what’s the proper order of things that allows such ideas[1]?].
Societies can also realize a single individual can’t be responsible for the actions of many. It was Mahatma Gandhi who came up with the idea of doing things being responsible of what he did himself and only of the things he did himself[2]. Indeed, the author explains Aussies prefer the not so trustable, ethereal hero; since they realized the English had them fighting their battles by using the word “hero”. I think they have learned cooperation works better. Of course there’s still the need for that one single manager but they know the manager alone can’t do much.
Narrative is not just a hero and their journey. Narrative is minding the imagined reality to make humans feel purposeful and cooperative. It is about making up what’s not there to have us not killing the neighbour. It’s imaginative and varied and truly strange.
Perhaps it is time to imagine something new. Have fun trying. Pasto kalo.
[1] Nonetheless, these ideologies happened and still happen.
[2] Reference to Diana Uribe’s podcasts… don’t ask which.
Los personajes repetidos del mundo del mito tales como el joven héroe, la vieja o el viejo sabios, el cambia formas y la sombra antagonista son las mismas figuras que aparecen repetidamente en nuestros sueños y fantasías, Por eso es que los mitos y la mayoría de las historias construidas sobre el modelo mitológico tienen el tintineo de la verdad psicológica,
THE WRITER’S JOURNEY ~ THIRD EDITION. Christopher Vogler. Published by Michael Wiese Productions
Mmmm. Mmmm. Y más mmmm. En mis sueños no hay viejos o viejas sabias. Tampoco sombras antagonistas. Y si tomara esta afirmación de antes, concluiría que no tengo nada de humano, tengo serios problemas mentales o… Algo no funciona ahí.
En mis fantasías, vivo en una biblioteca… Tengo dinero suficiente para rentar un Bentley… En otras soy una diosa hongo.
De acuerdo. Confieso: no soy humana. [Ya quisiera].
Diviértete lidiando con las verdades psicológicas. Pasto kalo.
Where do stories come from? How do they work? What do they tell us about ourselves? What do they mean? Why do we need them? How can we use them to improve the world?
Above all, how do storytellers manage to make the story mean something? Good stories make you feel you’ve been through a satisfying, complete experience. You’ve cried or laughed or both. You finish the story feeling you’ve learned something about life or about yourself. Perhaps you’ve picked up a new awareness, a new character or attitude to model your life on. How do storytellers manage to pull that off? What are the secrets of this ancient trade? What are its rules and design principles?
THE WRITER’S JOURNEY ~ THIRD EDITION. Christopher Vogler. Published by Michael Wiese Productions
I know. Not all writers wonder. Perhaps narratologists do. And not all good stories make you cry or laugh. I didn’t cry or laughed with Macbeth or Hamlet. I was enchanted with the body spread on stage (on my mind since I’ve never seen those performed). Am I weird? A little, right?
I also remember books that follow this hero’s journey idea that bored me up to the third or second sequel. The same structure again and again[1]. By the third book I had figured out some female character would need help and this guy, out of an outdated noblesse towards females, would go, lose his liver, an eye, ribs or got a broken leg and; gathering strength from nature or any other pre ordained magical condition, defeat the evil being. Thank you very much, where can I read something that’s not as predictable? Very akin to what happens to some fighting webtoons. Yet, for those; I still wanna know: why does the main character own two bodies?
Dramas that intend to leave behind a moral principle that infuriated me enough to question myself if the writer belittles their audience or if the audience is really that stupid. I always conclude it’s either the writer or the government trying to censure any gray morals. What if anyone feels like robbing a bank? No, we can’t have that. Those who dare may be banned from reincarnation.
Great stories have things in common. Indeed. However, they’re not always the same pattern. Good storytelling is like quantum physics. If you think you understand quantum physics, you understand nothing.
Have fun wondering. Pasto kalo.
[1] I’m too sophisticated for the franchise story ( except Harry Potter or A song of ice and fire…) but too vulgar for the intellectual quest of revolutionary story telling.
