“Look at me”, I argued – pointing to a very large belly. “I am married, and I am having a baby. Why should I have to have someone sign for me to drive.” He was unsympathetic to the insult.
My New Driver’s License
By: Ellouise Schoettler
In July, I went to the Motor Vehicle Express Office to renew my Maryland driver’s license Express is just part of the name of this place, not a description of the service, so while I waited in line for an hour, I had time to think about my history in the whole process of being licensed to drive a car.
I got my first driver’s license in 1953 by taking driver’s education during my junior year at Central High School in Charlotte, NC. A breeze —
Four years later, when it was time to renew my driver’s license, I was a married woman, and Jim and I were living in Baltimore. Two weeks before my 20th birthday, I was pregnant with our first child. Continue reading “My New Driver’s License”
We all have such stories that are recalled by a specific incident, by seeing an old toy at a flea market, by tasting a certain food or passing a place from our past. These kinds of stories keep us in touch with our roots and allow our descendants to understand a little of how we-and they-came to be who we are today.
Picking Blackberries: How to Develop Personal Tales
By: Granny Sue
Picking blackberries this summer brought back a flood of memories,
especially of days spent in the berry patch as a young mother, picking berries with my four older sons. We spent a lot of time picking
berries-they were a mainstay of our diet because I canned them for winter cobblers, made them into jam for topping pancakes, toast, and biscuits or for sweetening oatmeal, or canned blackberry juice to mix with the juice from the Concord grapes. Sometimes, when the berries were exceptionally plentiful, I made blackberry wine too, which I mixed with elderberry wine to make a clear red wine with a nice bite.
Our farm had many berry patches in the old overgrown pastures, and we found even bigger and better berries along the logging roads on White Rose Ridge, a few miles away. We didn’t worry too much about snakes, although we kept our eyes open for them. We didn’t worry about scratches and pricks on our arms either, and it usually looked like we had been in a catfight after a week of berry picking.
Continue reading “Picking Blackberries: How to Develop Personal Storytelling”
“The 1810 Grimm Manuscripts” is translated and annotated by Oliver Loo.
If you are looking for a book of quick Grimm fairytales for sleepy-time reading, this isn’t your book.
If you want to dive deep into the nuances and research of some of the earliest versions of the collected Grimm tales, this is a pool of knowledge and information you need to visit.
Loo explores the subtle meanings of many words in the often-handwritten notes of the Grimm brothers, bringing to light a new understanding of what words mean, acknowledging that some German words can’t be directly translated. This is especially true as he works to define some phrases and meanings that are more than 100 years old.
Continue reading “Book Review: The 1810 Grimm Manuscripts”
Although I do not believe that the “number three” requirement should limit the classification of a story as a folktale, such a requirement for classifications does elicit several questions. Why the focus on the use of the number three? What does the number three represent?
(1+2) > 3: The Presence of the Number Three in Folktales
By: K. Sean Buvala
As storytelling has moved from its perceived position of folk art to more mainstream recognition, the inevitable attempts to classify, catalog, and define it have become more ambitious. Storytelling is now a subject one can “take” for college credit. Although I believe that learning storytelling in a focused environment is overall a positive area of growth for storytelling, along with these classroom opportunities comes the need to create and memorize definitions of the characteristics of different types of stories.
For many storytellers, educators, and folklorists, the classification of a “folktale” requires that it include some reference to the number or sets of three. Such stories as “Three Blind Mice,” “Goldilocks and the Three Bears,” and “The Three Billy Goats Gruff” are common examples of the titles and subjects of basic folktales reflecting this concept. Although I do not believe that the classification of a story as a folktale should be limited by the “number three” requirement, such a requirement for classifications does elicit several questions. Why the focus on the use of the number three? What does the number three represent?
Continue reading “Two Plus One is Greater than Three: The Presence of the Number 3 in Fairytales and Folklore”
How To: Use the Power of the Pause to Strengthen Your Telling
By: Chris King
When we are telling stories to a group, especially as a newer storyteller, one of the most difficult techniques to master is the use of the pause. Even in everyday conversation, most people have a problem with silence. Somehow we feel we must always fill a space with words. And yet silence and a pause during the telling of a story not only enhances the audience’s understanding of the story, but it also builds anticipation. In this article, I will discuss the whys and how to use pauses to strengthen your storytelling.
Begin with silence.
It takes “guts” to stand in front of an audience after being introduced without saying something immediately, but this can prove to be one of the strongest ways to get their attention and to create rapport. I suggest that we start our storytelling by standing quietly, making eye contact with audience members, letting them make contact with us, and then once everyone is comfortable and waiting with anticipation, start with a dynamic story. You will be amazed at the level of attention this produces. And, if you choose to start with a story that involves the listeners, you will find that they will be ready to give you their all, because you have already created a bond through your silence.
Continue reading “How to Use the Power of Pause”