Storytelling is the way that unarticulated memory becomes art, becomes artifact, becomes fact, becomes felt again, becomes free. Empires have been raised & razed on much less. There is nothing so agonizing, or so dangerous, as memory unexpressed, unexplored, unexplained & unexploded. Grief is the grenade that always goes off.

storytelling is a ritual surrounding a metaphor for life.

The historian deals with the past, but the true storyteller works with the future. You can tell the strength of an age by the imaginative truth-grasping vigour of its storytellers. Stories are matrices of thought. They are patterns formed in the mind. They weave their effect on the future. To be a storyteller is to work with, to weave with, the material of time itself.

Stories are the creative conversion of life itself into a more powerful, clearer, more meaningful experience. They are the currency of human contact.

Stories are the creative conversion of life itself into a more powerful, clearer, more meaningful experience. They are the currency of human contact.

People are hungry for stories. It's part of our very being. Storytelling is a form of history, of immortality too. It goes from one generation to another. -Studs Terkel

The story is not in the plot but in the telling.

Storytelling is the most powerful way to put ideas into the world today.

There is, of course, always the personal satisfaction of writing down one's experiences so they may be saved, caught and pinned under glass, hoarded against the winter of forgetfulness. Time has been cheated a little, at least in one's own life, and a personal, trivial immortality of an old self assured. And there is another personal satisfaction: that of the people who like to recount their adventures, the diary-keepers, the story-tellers, the letter-writers, a strange race of people who feel half cheated of an experience unless it is retold. It does not really exist until it is put into words. As though a little doubting or dull, they could not see it until it is repeated. For, paradoxically enough, the more unreal an experience becomes - translated from real action into unreal words, dead symbols for life itself - the more vivid it grows. Not only does it seem more vivid, but its essential core becomes clearer. One says excitedly to an audience, 'Do you see - I can't tell you how strange it was - we all of us felt...' although actually, at the time of incident, one was not conscious of such a feeling, and only became so in the retelling. It is as inexplicable as looking all afternoon at a gray stone of a beach, and not realizing, until one tries to put it on canvas, that is in reality bright blue.

Far back in the impulses to find this story is a storyteller's belief that at times life takes on the shape of art and that the remembered remnants of these moments are largely what we come to mean by life. The short semihumours comedies we live, our long certain tragedies, and our springtime lyrics and limericks make up most of what we are. they become almost all of what we remember of ourselves.

We think we tell stories, but stories often tell us, tell us to love or hate, to see or be seen. Often, too often, stories saddle us, ride us, whip us onward, tell us what to do, and we do it without questioning. The task of learning to be free requires learning to hear them, to question them, to pause and hear silence, to name them, and then become a story-teller.

So much of science proceeds by telling stories.

Storytelling is like sex. We all do it naturally. Some of us are better at it than others.

Liberation is always in part a storytelling process: breaking stories, breaking silences, making new stories. A free person tells her own story. A valued person lives in a society in which her story has a place.