A Quote by Henry Cho
My way of telling stories is kind of what I do naturally. It's no different from how I would talk to you if you were in my living room.
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The first stage I preformed on were the stairs to the hallway in the living room. There was a really nice platform, and when people were sitting in the living room, it was kind of an elevated platform and we would put on shows and skits.
I talk to my kids about my mothers energy and how she would have loved them. I talk about how kind and polite my father was. So that they have some kind of remembrance that even though my parents died from their addictions and so that they know they were genuine in how they were.
I wish we could all have a telling room, a place where we go to tell our stories and listen to the stories of others; in our culture, the telling room might be around the dinner table or in the car on a long trip.
My real purpose in telling middle-school students stories was to practice telling stories. And I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times. And the way I would justify it to the head teacher if he came in or to any parents who complained was, look, I'm telling these great stories because they're part of our cultural heritage. I did believe that.
That’s how people live, by telling stories. What’s the first thing a kid says when he learns how to talk? “Tell me a story.” That’s how we understand who we are, where we come from. Stories are everything.
Memory is the way we keep telling ourselves our stories - and telling other people a somewhat different version of our stories.
Digression is my passion. I love telling the main stories, but in some ways, what I love most is using those narratives as a way of stringing together the interesting stories that people have kind of forgotten, and that are kind of surprising. The problem is, how do you pare stories away so that the book doesn't become a distracting jumble of material, and readers lose focus? In my experience, there's really only one way to do that. I pack it all in with the rough draft, then count on myself and my trusted readers to tell me what's good and what's not good.
Historically, the idea that you take something novel and you break it has been seen as the ultimate rejection of Enlightenment values, of progress, of civilization - because how could you possibly move forward if you break technology? I think that that misses the point, that if you introduce any kind of technology, what you're introducing is a new way of living and the consequences of that new way of living for people who were enmeshed in a different way of living need to be thought through.
These artists all have some kind of message to the public. These messages can be quite personal, maybe about their own existential situation, and it can be about suffering, it can be about questioning of one's existence and so on. They are all telling us very genuine stories, which are touching us in different ways and they are enlightening in different ways. But it's not only the stories themselves, but it's how it is done - that creates the impact of the story. It is not what is said but how it is said. I don't think you can dissociate the content from the form.
So I found myself telling my own stories. It was strange: as I did it I realised how much we get shaped by our stories. It's like the stories of our lives make us the people we are. If someone had no stories, they wouldn't be human, wouldn't exist. And if my stories had been different I wouldn't be the person I am.
I grew up in Sierra Leone, in a small village where as a boy my imagination was sparked by the oral tradition of storytelling. At a very young age I learned the importance of telling stories - I saw that stories are the most potent way of seeing anything we encounter in our lives, and how we can deal with living.
We didn't have a TV in the living room and all my friends thought we were kind of weird. When they'd come over, my mom wanted to talk to them about current events.
Without somehow destroying me in the process, how could God reveal himself in a way that would leave no room for doubt? If there were no room for doubt, there would be no room for me.
I remember being a little kid sitting in the living room with my brother and some friends from around the neighborhood, and I would sit at the piano and as they were running around the room doing different things and being silly, acting out, I would actually play the score for it - the music that went along with it.
I was telling stories before I could write. I like to tell stories, and I like to talk to things. If you]ve read fairy tales, you know that everything can talk,from trees to chairs to tables to brooms. So I grew up thinking that, and I turned it into stories.
Digression is my passion. I'm not kidding. I love telling the main stories, but in some ways, what I love most is using those narratives as a way of stringing together the interesting stories that people have kind of forgotten and that are kind of surprising.
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