A Quote by Andy Serkis
I want to link together ancient forms of storytelling and the future.
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The best memoirs - like This Boy's Life, or Crazy Brave [by Joy Harjo], for instance - bring you through a private river of storytelling that joins a major ocean of human struggle and joy. The act of enunciation - the forms and strategies of storytelling - are every bit as literarily serious as they are in poetry or other prose forms.
According to ancient mythology, trees link the Earth to the sky. In this respect trees link humans to another world.
Back in the day, you'd walk down to a street corner and see some people making a story with a hat in front of them. It's ancient entertainment, ancient storytelling and oral history - now we're doing it on YouTube.
The future of narrative? Built in, part of the human template. Not going away. The future of the codex book, with pages and so forth? A platform for transmitting narratives. There are others. The scroll is coming back (Twitter is a scroll.) Short forms are returning online. Interactivity is coming back; it was always there in oral storytelling. Each form has its pluses and its minuses.
Storytelling takes many forms, and even feature-length storytelling is often 90 minutes or two hours. There's nothing stopping us from trying to do that on a week-to-week basis.
[Prayer] is the link between God's inexhaustible resources and people’s needs...God is the source of power, but we are the instrument He uses to link the two together.
Among peoples who are geographically grouped together like the peoples of Europe there must exist a sort of federal link. It is this link which I wish to endeavour to establish.
I love storytelling, you know, beyond anything. I love a great story beyond a great performance. Storytelling is about what we all do together and how we collaborate together. A performance can be a collaboration in ways, but oftentimes it's one individual thing.
The deeper question... is not whether ancient religious forms can reform... but whether new forms of nature-related spirituality might emerge.
The poet's other readers are the ancient poets, who look upon the freshly written pages from an incorruptible distance. Their poetic forms are permanent, and it is difficult to create new forms which can approach them.
Ancient worship . . . does truth. All one has to do is to study the ancient liturgies to see that liturgies clearly do truth by their order and in their substance. This is why so many young people today are now adding ancient elements to their worship. . . . This recovery of ancient practices is not the mere restoration of ritual but a deep, profound, and passionate engagement with truth—truth that forms and shapes the spiritual life into a Christlikeness that issues forth in the call to a godly and holy life and into a deep commitment to justice and to the needs of the poor.
Canada is the linchpin of the English-speaking world. Canada, with those relations of friendly, affectionate intimacy with the United States on the one hand and with her unswerving fidelity to the British Commonwealth and the Motherland on the other, is the link which joins together these great branches of the human family, a link which, spanning the oceans, brings the continents into their true relation and will prevent in future generations any growth of division between the proud and the happy nations of Europe and the great countries which have come into existence in the New World.
When I wrote 'The Alexandria Link,' I discovered that we are only aware of about 10 percent of the knowledge of the ancient world. In the ancient world, most of the knowledge was destroyed. Every emperor of China who came in wiped out everything that came before them, to the point that the country completely forgot its past.
I myself wouldn't want to read a magazine that focuses solely on a small part of the literary field or of the popular culture - better to smash the borders and look for interesting and important stuff from many different forms of storytelling.
Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician.
We are not very pleased when we are forced to accept a mathematical truth by virtue of a complicated chain of formal conclusions and computations, which we traverse blindly, link by link, feeling our way by touch. We want first an overview of the aim and of the road; we want to understand the idea of the proof, the deeper context.
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