Tell Me A Story... v1.0
Being an annotated
meta-bibliography (plus a few goodies) of books,
chapbooks, articles, movies, videotapes, audiotapes, CDs,
websites, and events about and for storytelling in all of
its humble majesty and sundry forms.
Who are you? What do you want?
I was surprised recently as I watched a favourite
science-fiction show, Babylon 5, to hear the deep wisdom that is
posed as the two questions above. The main storyline is about a
cosmic war at the centre of which is found our intrepid heras and
heros. Babylon 5 is a space station that is a combination of
international way-station (Samarkand plus New York City) and that
wonderfully mythical, b-movie Casablanca - that neutral territory
at the edge of violence. Two forces vie to influence our
intrepids one group, the enigmatic Vorlons, always asking ,
"who are you?"; the other group, the ominous Shadows,
asking, "what do you want?" These are perfect twentieth
century echoes of the ancient inscriptions at the Oracle of
Delphi: "know thyself" and "nothing in
excess". Another version of the history of human
civilization perhaps: from pithy godly commandments to pithy
ambiguous questions? I'm not sure if we can count this as
But commandment or question, both are challenges to us messy
and complicated humans to see meaning in our actions. And such is
the gift that I have found in the worlds of storytelling through
which I walk daily. And, as you will see from the sections of
this annotated meta-bibliography (it's about more than just
books), my wanderings are varied. I share these wanderings with
you as a work-in-progress. There are plenty more titles I could
list here (and will in future versions) and there's plenty more
i'd like to say about items listed without comment. Not
everything listed counts as a favourite but all, I believe, are
worth knowing about. Relevance is, of course, determined by your
needs and not by my prejudices. I have, nonetheless created the 7
sections into which I have organized items:
- Orality, Oral History
- Myth, Anthropology &
This, of course, requires decisions that will inevitably
reflect my choices, my biases, my limits. I offer you this
document as part of a dialogue. I invite your participation with
me as I distribute this and produce future versions. I welcome
challenge and criticism, critical questions and reactions of all
kinds. Thanks is always nice too, but i'd rather hear from you
about what you connected with, what has made a difference. It's
about sharing stories. I'd love to know what you are up to that
this meta-bibliography might have helped you with.
Storytelling for me is simultaneously a playfully whimsical
practice and a deeply serious spiritual journey. Humourous and
sorrow-full, stories are about all that life and this universe
has to offer. Stories challenge us to find meaning in every act
that we do. From the myths and religions that identify peoples to
the anecdotes that we tell each other of our days, stories are as
available to us as language. This point is made poignantly in an
episode of Star Trek: The Next Generation called Darmok. (Oh, oh!
Two science-fiction shows mentioned on one page; what'll happen
to my credibility now?) In this, my single favourite episode,
Captain Picard learns, through tragedy, that an alien species'
incomprehensible language is based entirely on metaphor rooted in
the myths and stories of the alien's culture. The only way for
Picard to understand the alien's language would be to know all
the stories within which the language is rooted. Though it may
seem a science-fiction show concept this is pretty much how our
language works: through metaphor and story. It's that simple.
Story and language are one and the same thing. We are each of us
A last note for now. I have used Venus' mirror, , to indicate
those books that could also be placed in a feminist/women's
studies section. My choice is to integrate these titles in the
various sections. But I also want to call attention to the
special contribution of feminist scholarship and activism to the
study of narrative, the use of stories and the writing/telling of
critical biographies and auto-biographies. Most of my teachers in
this life have been women and I owe a special debt to these
friends and to feminist scholarship in general that has guided me
in the ways that I engage stories as well as tell my own.
Similarly I owe a debt to the work of anti-racist scholarship and
activism which I will expand in future versions.In solidarity
chris cavanagh, toronto, ontario - March 30, 1997
We share a commonwealth of tales around
this world. This is a sampling of some of the first few that
i've grabbed off my shelves. I have a fondness for
collections that contain tellable stuff, but apart from that,
I gather from everywhere that I can.
||A Treasury of Jewish Folklore:
Stories, Traditions, Legends, Humor, Wisdom and Folk
Songs of the Jewish People. New York: Crown
No library is complete without this
collection. And every person's life is richer for
having read this.
||Tales of the Hasidim: The
Early Masters. New York: Schocken Books.
||Tales of the Hasidim: The
Later Masters. New York: Schocken Books.
Martin Buber, whose ideas I still
think can help to bring peace to our troubled world,
loved the simple tales of the Hasidim. In these two
collections he presents them lovingly in all their
simplicity and directness. I find that there is a
striking similarity between these tales and those
found in Sufi, Zen and early Christian tradition.
(BURTON, WATSON, tr.)
||The Complete Works of Chuang
Tzu. New York: Columbia University Press.
Well, if you've ever wondered about
Taoism this is the original thing. This is the best
complete english translation. It contains hundreds of
little stories that are, at once, whimsical and
deeply philosophical. The following wee bit I used to
entitle and guide my Master's paper at York
|One morning Chuang Tzu
woke from a dream, turned to his friend and
dreamt that I was a butterfly. But now I do
not know if I was a man dreaming he was a
butterfly or if now I am a butterfly dreaming
he is a man."
||Tales of a Dalai Lama.
Boston: Houghton Mifflin Co.
||Episodes. St. Paul,
MN: Graywolf Press.
||Time & The Riddle.
Pasadena, CA: Ward Ritchie Press.
& JACK KORNFIELD (eds.)
||Stories of the Spirit, Stories
of the Heart: Parables of the Spiritual Path from Around
the World. New York: Harper Collins.
This is a collection of hundreds of
short tales from many spiritual traditions around the
world. Both editors are Buddhist teachers. Jack
Kornfield is a well-known West Coast Vipassana
Buddhist whom I have seen give one of his weekly
public talks/teachings. This was a cover-to-cover
read for me which is to say that I have a special
fondness for spiritual tales. This collection is
especially rich in Buddhist tales (Zen, Taoist,
Tibetan and Pali), as you might guess, but also has
plenty from many other world traditions including
Jewish, Sufi, Christian, Hindu, North American
||Memory of Fire: Genesis.
New York: Pantheon.
||Memory of Fire: Faces &
Masks. New York: Pantheon.
||Memory of Fire: Century of the
Wind. New York: Pantheon.
||The Book of Embraces.
New York: W.W.Norton & Co.
||Walking Words. New
York: W.W.Norton & Co.
Eduardo Galeano is one a few
authors whose works I buy sight unseen. His work has
taught me to see magic in the most humble and
unnoticeable gesture. His words are a gift of such
magic as I think was once a daily companion of all
people and which, with the rise of rationalist
science, we have abandoned. All five of these books
are composed of short (somewhat anecdotal) passages
that range from 100 to 500 words. It is a style that
Galeano uses to express a poignancy that can often be
heartbreaking. The trilogy, Memory of Fire is a
different history of the Americas than has ever been
written. Based on hundreds of sources Galeano has
found the most remarkable events to recount. Though
they are mostly about resistance and conquest, there
is also a smattering of humourous pieces. There is an
air about this book for which no word exists with
which to describe it. If we could compose a new word
out of melancholy and whimsy that might do it. I
often had to set these books down as I was frequently
overcome by strong emotion. The Book of Embraces is a
memoir, also composed of many vignettes. They are
simultaneously personal, parable, myth, anecdote.
This book has more whimsy than the trilogy but is
equally moving. Walking Words is made up of tales
that are like folktales re-invented within a
dreamworld. They are interspersed with poetic pieces
called "Window on...", for instance:
|Window on Arrival
Pilar and Daniel Weinberg's son was
baptized on the coast. The baptism taught him
what was sacred.
They gave him a sea shell:
"So you'll learn to love the
They opened a cage and let
a bird go free: "So you'll learn to love
They gave him a geranium:
"So you'll learn to love the
And they gave him a little
bottle sealed up tight: "Don't ever,
ever open it. So you'll learn to love
|KANE, ALICE &
EDITH FOWKE (ed.)
||Songs and Sayings of an Ulster
Childhood. Toronto: McClelland & Stewart.
Alice is one of Canada's national
storytelling treasures whom I have been privileged to
meet and see perform a number of times. Now over 88
she still lives on her own a few blocks from me.
Alice and her family immigrated to Canada from
Belfast when she was thirteen. She brought with her a
wealth of remembered songs and sayings that have been
put down in this unique memoir with the help of the
late Edith Fowke, Canada's leading folklorist. One of
my favourites is:
|O Lady Moon, your horns
point to the East.
O Lady Moon, your horns
point to the West.
Wane, be at rest.
||The Dreamer Awakes.
Peterborough, ON: Broadview Press.
This is a collection of Alice's
favourite tales. It includes some for which she is
well-known. It has my personal favourite, The Golden
||Once the Buddha Was a Monkey:
Arya Sura's Jatakamala . Chicago: University of
Jataka tales are stories of the
Buddha's pre-incarnations - the many lives he lived
as many kinds of animals before being born as human.
In university libraries you will find big collections
of these. This is the most elegant english
translation (from the Sanskrit) that I have found.
These stories are filled with a gentle humour and a
||Folktales from India: A
Selection of Oral tales from Twenty-two Languages.
New York: Pantheon Books.
This is one of the many titles
published under The Pantheon Fairy Tale and Folklore
Library. Though all the books in this series are
excellent collections this one is my favourite. Both
the writing and the organization of the tales is
superior to most of the others. Ramanujan's
scholarship is some of the best there is in the
field. The tale "What Happens When You Really
Listen to a Story" is both funny and deeply wise
about how to live one's life.
(tr. & ed.)
||Chinese Fairy Tales &
Fantasies. New York: Pantheon Books.
Another of The Pantheon Fairy Tale
and Folklore Library, I like the many short wisdom
tales in this collection. You can see in many of the
tales the origins of Taoist thought. One of my
favourite tales is in this collection as, The Lost
Horse. I've not seen it written down anywhere else
and, though i'm not crazy about this particular
version, I am glad to have a source on it. Here's my
version which is a favourite of my niece, Renée:
|And the Horse Came Back
Once there lived a father and son.
They were poor and lived a hard life. One day
their only horse ran away. Their fellow
villagers lamented saying, "What will
you do now? That was your only horse. How
will you farm your land. You are so
To this the poor farmer
said, "Well see."
A few days later the
farmers horse came back bringing with
it a wild horse. And the villagers said,
"Now you have two horses to work your
land. Youre so lucky."
And the farmer said,
The next day the
farmers son was taming the wild horse
when he was thrown from her back and broke
his leg. And the villagers said, "Now
who will help you work your land? That is
your only son. How unlucky."
And the farmer said,
A few days later the army
came through town to draft all the
able-bodied young men to fight in a distant
war for their emperor. All the young men of
the village, except for the poor
farmers injured boy, were taken away.
And as the villagers watched as their
children were taken away they looked at the
poor farmer and his boy and said,
"Youre so lucky."
And the former said,
||Elijah's Violin & Other
Jewish Folktales. Middlesex, England: Penguin
||Gabriel's Palace: Jewish
Mystical Tales. New York: Oxford University
Howard Schwartz has collected
Jewish tales from all over the world. All his books
include extensive notes on sources of the tales.
Elijah's Violin is one of my favourite wonder tales.
|THEOPHANE THE MONK
||Tales of a Magic Monastery.
New York: The Crossroad Publishing Company.
This is a lovely wee book of quirky
parables. I regularly tell a few from this
collection. These tales are examples of Christian
tales that seem virtually indistinguishable from
their Sufi, Zen and Hasidic counterparts.
||The Storyteller At Fault.
Charlottetown, PEI: Ragweed Press.
This is a story-cycle that Dan
wrote and performs still. It is a marvellous work of
stories within stories in the tradition of the 1,000
Nights and a Night (better known as The Arabian
Nights). It includes another of my all-time favourite
tales: The Silent Prince.
||Tales for an Unknown City:
Stories from 1,001 Friday Nights of Storytelling.
Montreal: McGill-Queen's University Press.
||Next Teller: A Book of
Canadian Storytelling. Charlottetown, PEI:
||Ghostwise: A Book of Midnight
Stories. Charlottetown, PEI: Ragweed Press.
Dan's collections are especially
magical in that all the stories told are still being
told by all the tellers published here (with the few
exceptions of some recently departed and very
beloved). Tales for an Unknown City is a collection
of tales told at the 1,001 Friday Nights of
Storytelling of which Dan is the principal founding
member. Begun in 1978 they continue to this day,
every Friday night without exception. Though this
book is a wonderful sampling of the Friday Nights, it
is no substitute for the real thing. You'll find it
at: St. George the Martyr Church, 205 John St. (North
of Queen) and it always begins at 8:30 pm. (A $3
donation is requested and you can call for info at
416-656-2445). Next Teller and the forthcoming
Ghostwise include a wider sampling of Canadian
telling. You will find one tale that I re-tell from
my childhood, Ti-flor and the Devil in Ghostwise.
This section is a combination of
storytelling how-to's and books that specifically address the
context of teaching.
||No-Self: The Zen of
Storytelling. Oshawa, ON: GB Photographic.
$5.00, Order from: GB Photographic,
300 Park Rd. N., Oshawa, ON L1J 4M2
|The Call of Stories: Teaching
and the Moral Imagination. Boston: Houghton
||Story Telling New & Old.
New York: The MacMillan Co.
This is a simple and elegant (and
short: 23 pages) reflection on storytelling as an
oral art and its relationship to imagination.
||Origins and Early Traditions
of Storytelling. Kensington, CA: York House.
||Teaching As Storytelling: An
Alternative Approach to Teaching and the Curriculum. London,
& WILLIAM G. TIERNEY (eds.)
||Naming Silenced Lives:
Personal Narratives and the Process of Educational
Change. New York: Routledge.
||Storytelling and the Art of
Imagination. Rockport, MA: Element.
||The World of Storytelling.
New York: RR Bowker Co.
||And None of It Was Nonsense:
The Power of Storytelling in School. Richmond
Hill, ON: Scholastic.
||Stories and Meanings.
Sheffield, UK: National Association for the Teaching of
||The Way of the Storyteller.
New York: Viking.
||Just Enough to Make a Story: A
Sourcebook for Storytelling (2nd Ed.). Berkeley:
Sisters' Choice Press.
||The Art of the Storyteller.
New York: Dover Publications.
SCHOOL OF TORONTO
||The Art of Storytelling: A
Guide for Parents, Teachers, Librarians and Other
Storytellers. Toronto: The Storytellers School
Order from: The Storytellers School
of Toronto, 791 St. Clair Ave. W., 2nd Floor,
Toronto, ON M6C 1B7. ph: (416) 656-2445, fx: (416)
656-8510. CDN$9.00 or US$10.00.
& NEL NODDINGS (eds.)
||Stories Lives Tell: Narrative
Dialogue in Education. New York: Teachers
Building Community, Changing Lives. New York:
Orality & Oral Tradition
||Oral Traditions and The Verbal
Arts. New York: Routledge.
||Keeping Family Stories Alive:
A Creative Guide to Taping Your Family Life & Love. Vancouver:
Hartley & Marks, Publishers.
||Oral Tradition as History.
Madison, WI: The University of Wisconsin Press.
Myth, Anthropology and Comparative
Sadly, anthropology has often been a
tool used by euro-american scholars to appropriate knowledge
from colonised, invaded and conquered peoples. The legacy of
anthropological writing is now often a painful and
complicated one. There exist texts of peoples that have
long-since ceased to exist. These texts are, in too many
cases, all that remains of once vibrant peoples. They are
both bones and treasures. A new practice of anthropology has
emerged in the past twenty years that is guided with a more
critical eye and a politics of solidarity, humility and
compassion. Some of these titles are examples of this.
||Writing Women's Worlds:
Bedouin Stories. Berkeley: University of
|BELL, DIANE &
PAT CAPLAN, WAZIR JAHAN KARIM (eds.)
||Gendered Fields: Women, Men
& Ethnography. New York: Routledge.
||The Hero With a Thousand
Faces. Princeton: Princeton University Press.
& GEORGE E. MARCUS (eds.)
||Writing Culture: The Poetics
and Politics of Ethnography. Berkeley:
University of California Press.
with ANGELA SIDNEY, KITTY SMITH & ANNIE NED
|Life Lived Like a Story: Life
Stories of Three Yukon Elders. Lincoln:
University of Nebraska Press.
This is a remarkable work that
presents the life stories of three very special
women. Cruickshank learned to approach autobiography
differently as she was taught by her friends that
myth and life can have very different boundaries from
culture to culture. Angela Sidney, Kitty Smith and
Annie Ned recount their family histories as well as
the stories they were raised on of the world's
creation and transformation, of animals and humans.
GIORGIO & HERTHA vonDECHEND
||Hamlett's Mill: An Essay on
Myth and the Frame of Time. Boston: Gambit
||Other Peoples' Myths: The Cave
of Echoes. New York: Macmillan Publishing
||The Gift: Imagination and the
Erotic Life of Property. New York: Vintage
||Wisdom of the Mythtellers.
Peterborough, ON: Broadview Press.
||Remembered Lives: The Work of
Ritual, Storytelling, and Growing Older. Ann
Arbor: University of Michigan Press.
||Cree Narrative: Expressing the
Personal Meanings of Events. Ottawa: National
Museums of Canada.
||Little Bit Know Something:
Stories in a Language of Anthropology. Toronto:
Douglas & McIntyre.
& PAUL THOMPSON (eds.)
||The Myths We Live By.
New York: Routledge.
This book contains papers presented
at the Sixth International Oral History Conference on
"Myth and History" (St. John's College,
Oxford; Sept. 11-13, 1987) . As papers that address
the theory of myth and oral history they are very
accessible to non-experts. I especially recommend
Julie Cruickshank's piece, Myth as a framework for
life stories, which is an excellent preview of her
book Life Lived Like a Story (see elsewhere in this
||The Speech of the Grail: A
Journey Towards Speaking That Heals and Transforms. Hudson,
NY: Lindisfarne Press.
Sussman retells Wolfram van
Eschenbach's rendition of Parsifal chapter by chapter
and reflects on how the story of the Grail is both a
ritual of initiation into voice as well as a lesson
in how to tell one's stories. It is about imagination
and creativity and art and life and all those good
things that make life worth living. A taste:
|How to relate creatively
to wildness, how to leave things intact,
free, still breathing in all their beauty and
mystery, while simultaneously building an
understanding of them, is a definitive late
twentieth-century concern in fields as
diverse as science, ecology, archetypal
psychology, poetry and literary criticism -
and the question concerns the
initiate-speaker no less. The challenge is to
claim a place for oneself, for one's
imagination and intellect, in this world
without having to kill the world to do it.
The wildness in the world, in other people
and in ourselves will, now and then, confound
us, betray our expectations and ideals,
challenge our need to feel in control and
therefore terrify us. To maintain respectful
relatedness under such conditions can only be
accomplished by a courageous commitment to
stay open, to keep learning, to live out of
ever-changing questions rather than hardened
is the key. The initiate-speaker emulates the
jazz musician who makes no claim for any
final answer or all-encompassing knowledge of
the right way. Rather, holding onto a basic
"line" of intention, the musician
improvises out of what arises within and
appears without, constantly accepting new
impulses and ideas and working them into a
pattern that somehow "fits,"
expresses some truth or coherency for that
moment. Wise fools portrayed in old stories
and spiritual masters have always known that
the harmonies of the wild world are two
intricate for ordinary consciousness to
comprehend fully. These teachers point beyond
modes of ordinary understanding - to
presence, to play, to improvisational
artistry. But they do not say this is easy.
Those who embody the presence to relate
playfully to wildness have undergone rigorous
||From the Beast to the Blond:
On Fairytales and Their Tellers. London: Chatto
||Managing Monsters: Six Myths
of Our Time (The Reith Lectures). London:
|Fairy Tale as Myth/Myth as
Fairy Tale (The 1993 Thomas D. Clark Lectures). Lexington:
University Press of Kentucky.
||Feminist Pedagogy: An
Autobiographical Approach. Halifax: Fernwood
||Acts of Meaning.
Cambridge, MA: Harvard University Press.
||Women Who Run with the Wolves:
Myths and Stories of the Wild Woman Archetype.
New York: Ballantine Books.
||A Chorus of Stones: The
Private Life of War. New York: Anchor Books.
Though included in this section
this book would be equally at home under
autobiography. Griffen's prose is poetic,
associative, provocative. Like Life Lived Like a
Story listed in the previous section, this book is a
unique approach to autobiography. A deeply personal
refection that is simultaneously rooted in the
social-political lifeworld that we share. Here are
two pieces to tempt you:
|I am beginning to believe
that we know everything, that all history,
including the history of each family, is part
of us, such that, when we hear any secret
revealed, a secret about a grandfather, or an
uncle, or a secret about the battle of
Dresden in 1945, our lives are made suddenly
clearer to us, as the unnatural heaviness of
unspoken truth is dispersed. For perhaps we
are like stones; our own history and the
history of the world embedded in us, we hold
a sorrow deep within and cannot weep until
that history is sung.
|To tell a story, or to
hear a story told, is not a simple
transmission of information. Something else
in the telling is given too, so that, once
hearing, what one has heard becomes a part of
||The Soul's Code: In Search of
Character and Calling. New York: Random House.
Hillman offers here a radical
new/old notion of how to read one's life: i.e.
backwards. He uses the metaphor of the acorn and the
oak to suggest that we are born with an innate
potential ( he uses terms like daemon, genius,
guardian angel, calling). This calling can manifest
in us as children, but, seeing as we are young and
unprepared, our actions can get pathologized,
neglected or otherwise misinterpreted. And yet if we
re-examine our choices in life we can witness a
recapitulation of our calling over and over again.
This is a poor description on my part so i'll let
|Is this the appeal of
biography, that it is the genre for
connecting the two souls, called by
biographers the life and the work, the human
and the genius? Is that why we are fascinated
by biographies? They expose the intricacies
of the relation between the two names, and
we, reading, might gain an insight into our
own genius and how to live it by studying how
others did so notoriously, successfully, and
also seeing their pitfalls, their tragedies.
Not for heroes and models or for
escapes into lives not our own, but to solve
the fundamental mystery that we are each
twice-born, born with a doppelgänger, and if
we cannot find this estranged angel by
ourselves, we turn to biography for clues.
These sorts of superstitions and to us
obscure practices regarding the placenta and
the elf, the doppelgänger and a variety of
souls and soul-names, seem to collect around
a central theme: that we are not alone at the
beginning. We come to the world with a
magical or otherworldly counterpart that is
not supposed to be around when and where we
|But why is it so difficult
to imagine that I am cared about, that
something takes an interest in what I do,
that I am perhaps protected, maybe even kept
alive not altogether by my own will and
doing? Why do I prefer insurance to the
invisible guarantees of existence? For it
sure is easy to die. A split second of
inattention and the best-laid plans of a
strong ego spill out on the sidewalk.
Something saves me every day from falling
down the stairs, tripping at the curb, being
blindsided. How is it possible to race down
the highway, tape deck singing, thoughts far
away, and stay alive? What is this
"immune system" that watches over
my days, my food sprinkled with viruses,
toxins, bacteria? Even my eyebrows crawl with
mites, like little birds on a rhino's back.
We name what preserves us instinct,
self-preservation, sixth sense, subliminal
awareness (each of which, too, is invisible
yet present). Once upon a time what took such
good care of me was a guardian spirit, and I
damn well knew how to pay it appropriate
this invisible caring, we prefer to imagine
ourselves thrown naked into the world,
utterly vulnerable and fundamentally alone.
It is easier to accept the story of heroic
self-made development than the story that you
may well be loved by this guiding providence,
that you are needed for what you bring, and
that you are sometimes fortuitously helped by
it in situations of distress.
RUTHELLEN & AMIA LIEBLICH (eds.)
||The Narrative Study of Lives -
Volume 1. Newbury Park, CA: Sage Publications.
|MUMBY, DENNIS K.
||Narrative and Social Control:
Critical Perspectives. London: SAGE
||Narrative in Culture: The Uses
of Storytelling in the Sciences, Philosophy and
Literature. New York: Routledge.
|PARRY, ALAN &
||Story Re-visions: Narrative
Therapy in the Postmodern World. New York: the
NARRATIVES GROUP (eds.)
||Interpreting Women's Lives:
Feminist Theory and Personal Narratives.
Bloomington, IN: Indiana University Press.
||Narrative Knowing and the
Human Sciences. Albany: SUNY.
C. & RICHARD L. OCHBERG (eds.)
||Storied Lives: The Cultural
Politics of Self-Understanding. New Haven, CT:
Yale University Press.
||Black Sheep and Kissing
Cousins: How Family Stories Shape Us. New York:
||The Hard Facts of the Brothers
Grimm. Princeton: Princeton University Press.
||Off With Their Heads! Fairy
Tales and the Culture of Childhood. Princeton:
Princeton University Press.
||Re-Authoring Lives: Interviews
& Essays. Adelaide, South Australia: Dulwich
& DAVID EPSTEIN
||Narrative Means to Therapeutic
Ends. New York: W.W.Norton & Co.
|YUNGBLUT, JOHN R.
||Shaping a Personal Myth to
Live By. Rockport, MA: Element.
|BIRREN, JAMES. E.
& DONNA E. DEUTCHMANN
||Guiding Autobiography Groups
for Older Adults: Exploring the Fabric of Life.
Baltimore: Johns Hopkins University Press.
||Writing A Woman's Life.
New York: Ballantine Books.
||Hamlet's Mother and Other
Women. New York: Ballantine Books.
||Silver Threads: Critical
Reflections on Growing Old. Toronto: Between the
||Getting Personal: Feminist
Occasions and Other Autobiographical Acts. New
|ARNOLD, RICK et al
||Educating for a Change.
Toronto: Between the Lines & the Doris Marshall
||The Artist's Way: A Spiritual
Path to Higher Creativity. New York: GP Putnam's
||Writing Down the Bones.
New York: Bantam.
||Wild Mind: Living the Writer's
Life. New York: Bantam.
|KENT, CORITA &
||Learning By Heart: Teachings
to Free the Creative Spirit. New York: Bantam
||Surviving A Writer's Life.
New York: HarperCollins.
||Writing for Your Life: A Guide
and Companion to the Inner Worlds. New York:
||Writing the Natural Way: Using
Right-Brain Techniques to Release Your Expressive Powers.
Los Angeles: J.P. Tarcher.
||The Writer as an Artist: A New
Approach to Writing Alone and with Others. Los
Angeles: Lowell Press.
||If You Want to Write: A Book
about Art, Independence and Spirit. Saint Paul,
MN: Graywolf Press.
- Episode 102 of Star Trek: The Next Generation.
Not the place you might normally
look for profound linguistic, epistemological and
cross-cultural truths but this show presents a lesson
in humility that is sadly lacking in all too much
human communication and interaction. If you get a
chance, and you have a taste for the mythical clothed
as science-fiction, then I promise you it is a
worthwhile 50 minutes.