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Professional Group

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Carter Long
Carter Long

Stories We Tell Image Extra Quality

Ultimately we all have an idea about what kind of a person we are. This idea subconsciously influences how we think, react, and make decisions. The image is usually closely tied to our fundamental values and worldview. Most of us want to be good people in the end. What 'right' is defined by these very values and core beliefs.Our self-image influences the stories we tell ourselves because we're looking for ways to find justification in our day-to-day experience.

Stories We Tell image

Fear also changes the kind of stories you tell yourself. Living in fear means giving up the agency, seeing yourself as a passive spectator or a victim. It means seeing yourself as being controlled by circumstances, the actions of others, or your own emotions. And once the story you tell yourself becomes the story of a victim, you will be more and more likely to think and behave like a victim.

Stop from time to time and think about the possibility that the story you've just created is nothing more than a story. Consider alternative stories. Try telling the same story from other characters' sides, think about what their narrative would look like.

Selected Shorts is produced by Symphony Space and broadcast on more than 130 stations around the country. The series began in 1985 and enjoys sold-out performances to this day. Selected Shorts was conceived with a simple premise: take great stories by well-known and emerging writers and have them performed by terrific actors of stage and screen. Featuring stories around a lively theme, the favorite works of a guest author, or a special collaboration, each Selected Shorts event is a unique night of literature in performance.

Here, we see Sarah acting in Mister Nobody, whose protagonist narrates multiple incompatible life stories to a reporter. While on set, Polley was contacted by a reporter wanting to publish the story of her discovery before she had told Michael. The conversation this prompted led Michael to write his version of the story, which he reads as the voiceover narration to the film.

This session will explore what it means to record and create stories beyond the limits of a national narrative, incorporating experiences across cultures and continents. Each of the panelists will consider their multiple affiliations and the perspectives and knowledge they have gained as a result.

SESSION 2: PRESERVING OUR STORIESHistory is revealed not only through formal written records but also in the preservation of tangible objects that illustrate personal and family stories. Speakers in this session will show and discuss a selection of the materials they keep to tell their stories while underscoring the importance of collecting such objects to preserve the history of Asian American women.

Stories are the building blocks of relationships and Esther Perel designed this game to bring out the storyteller in you. This is more than just a question deck, let the Prompt Cards guide you and the Story Cards inspire you to share the stories you rarely tell.

The idea for the game came while Esther was trading stories with her closest friends. She created all of the Prompt and Story Cards based on conversations she's started at dinner parties, in her office, and with friends, family, and colleagues.

Bestselling author Patti Callahan Henry is back witha powerful novel about the stories we tell and the people we trust. Eve and Cooper Morrison are Savannah's power couple. They're on every artistic board and deeply involved in the community. She owns and operates a letterpress studio specializing in the handmade; he runs a digital magazine featuring all things southern gentlemen. The perfect juxtaposition of the old and the new, Eve and Cooper are the beautiful people. The lucky ones. And they have the wealth and name that comes from being part of an old Georgia family. But things may not be as good as they seem. Eve's sister, Willa, is staying with the family until she gets back on her feet. Their daughter, Gwen, is all adolescent rebellion. And Cooper thinks Eve works too much. Still, the Morrison marriage is strong. After twenty-one years together, Eve and Cooper know each other. They count on each other. They know what to expect. But when Cooper and Willa are involved in a car accident, the questions surrounding the event bring the family close to breaking point. Sifting between the stories--what Cooper says, what Willa remembers, what the evidence indicates--Eve has to find out what really happened. And what she's going to do about it.A riveting story about the power of truth, The Stories We Tell will open your eyes and rearrange your heart.

"Book clubs rejoice--your next pick is here! THE STORIES WE TELL unfolds in surprising ways; Patti Callahan Henry understands the delicate balance of power inside a marriage. They can look so externally perfect they can even fool even the people living inside them... for a little while. I loved her portrayal of a strong woman who isn't afraid to be successful, even when others find it threatening, and who is bold enough to seek the truth, even when living inside the lies is safer and more comfortable." --Sara Gruen, New York Times bestselling author of Water for Elephants and Ape House "Patti Callahan Henry seamlessly combines mystery, family love, and personal journey all in one engrossing tale. From the intriguing beginning to the touching ending, The Stories We Tell is filled with the warmth, heart and compassion that have become the trademark of her novels." --Diane Chamberlain, author of Necessary Lies "Patti Callahan Henry's THE STORIES WE TELL is a lyrical exploration of love and longing, secrets and suspicion, family and friendship, all told with the author's trademark insights into the hollows and curves of the heart and mind of a working woman who must balance the demands of motherhood, wifedom, sisterhood, and yes, the deepest cravings for artistic expression. I always love the stories PCH tells!" --Mary Kay Andrews, author of Ladies' Night "THE STORIES WE TELL fearlessly explores the textures of the human heart, finding a path toward hope through a Savannah that is jagged with class issues, faith misused, and broken trust. Henry loses you in a landscape peopled with secret keepers, storytellers and liars, and proves that in the end, love is the only reliable compass. This is everything you expect from Patti Callahan Henry---lyrical writing, characters worth rooting for, a sure-footed belief in the power of goodness---plus a twisty plot that will keep the pages turning long into the night." --Joshilyn Jackson, New York Times bestselling author of Someone Else's Love Story "Henry has mastered the art of the slow reveal, leading the reader down unexpected paths. Readers who enjoy southern women's fiction à la Joshilyn Jackson (Someone Else's Love Story, 2013) will appreciate this emotionally satisfying novel." --Booklist

Families create their own narratives. Stories are passed on from generation to generation, and in this way the past continues to live, but it can also be obscured or distorted. Joan Didion famously wrote, "We tell ourselves stories in order to live." Family arguments often come down to who "owns" the narrative, or which version is decided upon as the "true" one. Sarah Polley's fascinating documentary, "Stories We Tell," is ostensibly about her mother, Diane Polley, who died in 1990. A powerful and thoughtful film, it is also not what it at first seems, which is part of the point Polley appears to be interested in making. Can the truth ever actually be known about anything?

In speaking about "Stories We Tell," it is important to avoid revealing the surprises hidden within the film, surprises of fact and surprises of Polley's structure, because the discovery of said surprises is where the film packs its greatest and most indelible punch. The surprises do not operate as cheap "Gotcha" moments, but instead draw back veils to show levels, shades, nuances. Diane Polley comes to us in fragments, and we are forced to re-adjust our interpretation of her throughout the film as new details are revealed. At one point, one of Polley's interview subjects balks at the idea of having everyone tell the same story. As far as he is concerned, only two people have the "right" to tell that story, and it is the two people involved. Otherwise, he says, "you can't ever touch bottom." Inadvertently, in his criticism, he expresses Polley's whole theme.

Polley calls her interview subjects "The Storytellers," and they include her older sisters, Susy and Joanna, and her older brothers, John and Mark, and other important figures in her mother's past. Polley has said she was not interested in being an "omniscient" presence, and we can hear Polley's questions and laughter from behind the camera. Her father, Michael Polley, is an actor as well (familiar to anyone who was a fan of the Canadian TV series Slings and Arrows, where, incidentally, Sarah Polley had a role in the third season). "Stories We Tell" begins with Sarah setting up her father in a recording booth, to do the narration for the film, which (we find out later) he wrote. So there is already a distancing element in place. It's a film about making a film, and, as Polley tells her father, she sees the interviews as a kind of "interrogation process."

She asks each storyteller to "tell the story from the beginning until now," and as they begin, hesitantly at first, Polley supplements the story with old photographs and home movies: beautiful footage of her mother, cavorting on the beach, laughing at parties or around the pool, and, fascinatingly, singing "Ain't Misbehavin'" in what looks like an old black-and-white audition tape. Diane Polley is described by one and all as a woman who wanted to live life to the fullest. One person says that her walk was so emphatic "she made the record skip," an eloquent image. One family friend admits in an interview that she always sensed that Diane "had secrets," which turns out to be true. She was an actress, but she gave that up to have her family. The marriage to Michael was happy at first, but discontent grew. Michael was a solitary type of guy, and Diane loved crowds and excitement. 041b061a72


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