Raymond Briggs, The Snowman, 1978
I remember that winter because it had brought the heaviest snow I had ever seen. Snow had fallen steadily all night long and in the morning I woke in a room filled with light and silence, the whole world seemed to be held in a dream-like stillness. It was a magical day... and it was on that day I made the Snowman.
Considerations for architecture in the context of history include the regulation and management of power and identity; what prevails and what does not; and how to recognize the significance of untold narratives.
Sharon Johnston + Mark Lee of Johnston Marklee in Nicholas Korody, “The Amnesias of Make New History,” 2017
Celebrated works of architecture were built through displacement. If these histories are forgotten or obscured, it is in part due to the willful production of certain narratives over others. History is as much about forgetting as it is about remembering, and we—that is to say, the architectural community—tend to recall stories of design heroism over horror.
Hello ThePeoples,
Are ThePeoples enjoying seven minutes of hate at Russian hackers and Russian security company? Is after October 1st, new moneys is being in US government budgets for making information warfares payments. Is many stories of NSA + lost data. Is all beings true? Is NSA chasing shadowses? Is theequationgroup still not knowing hows thems getting fucked? Is US government trying out storieses to be seeing responses? TheShadowBrokers be telling ThePeoples year ago how theshadowbrokers is getting data. ThePeoples is no believing. ThePeoples is got jokes. ThePeoples is making shits up. So TheShadowBrokers then saying fucks it, theshadowbrokers can be doings that too.
TheShadowBrokers is thinkings The Peoples is missings most important part of storieses. ... Russian security peoples is being really really, almost likes, nearly sames as Russian hackers. Is like werewolves. Russian security peoples is becoming Russian hackeres at nights, but only full moons.
All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.
Flannery O’Connor, “On Writing,” c. 1960
If you’re going to admit that stories matter, then it matters how we tell them, and that exists on the level of microscopic word choice, as well as on the level of which story are you going to pick to start off with, and then, what exactly is that story? The whole question of ‘What is that story?’ is going to depend on the language, the words that you use.
Emily Wilson, “On Narrative,” 2017
Atlanta specializes in the ND, the nondescript. Middle America, suburbia, any story that’s not anchored to a specific geographical locale—Atlanta does that extremely well.
Jason Underwood in Hannah Palmer, "Film in Atlanta’s Rotten Core,” 2017
What the modern poet should write is not epic but a deductum carmen, a poem that has been drawn out the way a thread has been drawn out in spinning, so that it becomes a fine strand out of the original glob of raw wool.
Denis Feeney, “Introduction” to Ovid’s Metamorphoses, 8 / 2004 CE
Text to me is the manipulation of words to produce something other than a narrative. I want to stop any narrative.
Peter Eisenman, “On Architecture,” 2016
All my fiction starts from a feeling of unique perception, the pressure of a secret, a story that needs to be told.
Barry Unsworth, “On Secrets,” c. 2000
Gozzi believed that there were only thirty-six tragic situations; Schiller thought there must be more, cut he was unable to find even so many as Gozzi.
nickkahler reblogged
Matteo Ghidoni, High-Rise Autopsies: HR06 = First Sequence of Events (Alliances, Fights, Blackouts), 2007 (via archidose)
Plot is built of significant events in a given story – significant because they have important consequences. Taking a shower isn't necessarily plot... Let's call them incidents ... Plot is the things characters do, feel, think or say, that make a difference to what comes afterward.
Ansen Dibell, Plot: Elements of Fiction Writing, 1999
nickkahler reblogged
I murder the text, literally cut it into pieces, castrating verbs, suffocating adjectives, murdering nouns, throwing articles, prepositions conjunctions overboard, jettisoning adverbs; I separate subject from verb, verb from object—create semantic mayhem, until my hands bloodied, from so much killing and cutting, reach into the stinking, eviscerated innards, and like some seer, sangoma, or prophet who, having sacrificed an animal for signs and portents of a new life, or simply life, reads the untold story that tells itself by not telling.
M. NourbeSe Philip, Afterword for Zong!, c. 2010 (via batarde)
In my head I'm always living in the past, always redesigning the story, even if I'm imagining something that doesn't exist.
Andreas Angelidakis, “On Time and Narrative,” c. 2015