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 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.
“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?
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.
The destiny of the world is determined less by the battles that are lost and won than by the stories it loves and believes in. —Harold Goddard
If you don’t know the trees you may be lost in the forest, but if you don’t know the stories you may be lost in life. —Siberian Elder
Life itself is the most wonderful fairytale of all. —Hans Christian Andersen
There have been great societies that did not use the wheel, but no societies that did not tell stories. —Ursula K. LeGuin
If stories come to you, care for them. And learn to give them away where they are needed. Sometimes a person needs a story more than food to stay alive.
—Barry Lopez, in Crow and Weasel
Those who do not have power over the story that dominates their lives, the power to retell it, rethink it, deconstruct it, joke about it, and change it as times change, truly are powerless because they cannot think new thoughts. —Salman Rushdie
More Quotes Below!God made man because he loves stories. —Rabbi Nachman of Bratzlev (as quoted by Steve Sanfield)
If you keep telling the same sad small story, you will keep living the same sad small life. —Jean Houston