A Quote by Charles de Lint
There are few joys to compare with the telling of a well-told tale.
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Talk about the joys of the unexpected, can they compare with the joys of the expected, of finding everything delightfully and completely what you knew it was going to be?
And I thought, when I have kids, that's the sort of well told, silly, and fun fairy tale that I would want to take them to. But it was an amazing experience. And I think Shrek is a real classic, a fairy tale classic.
A good tale evil told were better untold, and an evil take well told need none other solicitor.
Do few things but do them well, simple joys are holy.
One describes a tale best by telling the tale. You see? The way one describes a story, to oneself or to the world, is by telling the story. It is a balancing act and it is a dream. The more accurate the map, the more it resembles the territory. The most accurate map possible would be the territory, and thus would be perfectly accurate and perfectly useless. The tale is the map that is the territory. You must remember this.
If, when we compare two versions of a story, the second known to be a retelling of the first, and find that the second has more of a miraculous element, we may reasonably conclude we have legendary (or midrashic or whatever) embellishment. The tale has grown in the telling. This sort of comparison is common in extrabiblical research and no one holds that it cannot properly indicate legend formation there.
In the tale, in the telling, we are all one blood. Take the tale in your teeth, then, and bite till the blood runs, hoping it's not poison; and we will all come to the end together, and even to the beginning: living, as we do, in the middle.
...the tale that's told for no other reason but companionship, which is another (and my favorite) definition of literature, the tale that's told for companionship and to teach something religious, of religious reverence, about real life, in this real world which literature should (and here does) reflect.
I've always been into having stories told to me. I was a voracious reader, my father was also a teller of tales; and the kind of Baron Munchausen proxy of a tall tale was much more interesting than a true tale.
THE HEIR OF NIGHT by Helen Lowe is a richly told tale of strange magic, dark treachery and conflicting loyalties, set in a well realized world.
I've long been interested in the tale-within-a-tale phenomenon. I'm familiar with many tales which use this framework or the device of many people in one place, telling their stories, or multiple storytellers commenting on each others' stories with their own.
Now it is a strange thing, but things that are good to have and days that are good to spend are soon told about, and not much to listen to; while things that are uncomfortable, palpitating, and even gruesome, may make a good tale, and take a deal of telling anyway.
Don't Let Him Know is a rich, evocative and brilliantly told tale of family, of loyalties, and of love that must stay secret. Sandip Roy has broken new ground in this tale of the modern Indian family. A lovely read
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
Why cover the same ground again? ... It goes against my grain to repeat a tale told once, and told so clearly.
I have some speakers up here, thank God, because last night I didn't have them and I was telling jokes and I had no idea which joke I was telling. So I told jokes twice. I even told that one twice.
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