Posts Tagged Bard

What’s Your Story?

[Note: I found this in my ‘Drafts’ folder today. I’m sure it’s been published somewhere, but I can’t remember where – and I rather like it, brief though it is. Stories have been on my mind a lot lately… so more on this topic may follow.]

Stories are such an intrinsic part of our lives. From tales around a campfire to soap operas, we define ourselves by our tales – whether moral fables to aid the understanding of wider issues, or simply the biography of another to compare ourselves against.

We often speak today of this ‘Age of Entitlement’ in which we currently live. That the wealthy Western world has certain expectations: of a home, family, health, standard of living, basic rights… as if we are, in fact, at the centre of our own story. Perhaps certain children are brought up to believe this, before reacting in fear and anger when they find out it’s not the case. Perhaps it’s just too much to take in, that so much of the world is out of our comprehension or control.

Either way, our stories are confused, uncertain, shouting to be heard. On Facebook, Twitter or in print, conflicting accounts and opinions are reduced to soundbites, muddying the issue even more. We don’t have time to listen to the full story, so we take what we can get and then act… becoming even more confused, scared and reactionary when the consequences reveal what we should have known all along (had we taken that time to listen).

One of the most contentious areas of learning in modern Paganism, I have noticed, is the Druid notion of the Bard. People don’t really know what to make of this idea, or even if it’s relevant in the 21st century. Is he a storyteller or a musician? Should he be contemporary or focusing on the ancient myths? Does the Bard necessarily have to be confined by gender, or even geography?

I’ve heard people say that modern musicians can’t be Bards, because… well… they’re modern! Do they have to be folk singers, like OBOD’s current Pendragon, Damh the Bard? Why not? But I would also ask for consideration of David Bowie with his concept albums, the Sex Pistols, Nirvana or Oasis as they reflect on the cultures in which they lived, or even Lily Allen or Lady Gaga satirisng that same society.

We’re nervous about setting racial boundaries, or ‘stealing’ the cultures of others through their beliefs – so many are cagey about even exploring the myths of their ancestors. The so-called Celtic myths are anathema to some, irrelevant to others. The tales of each land seem almost eager to be forgotten by their own people, from the British to the current Romans and Greeks… except as tourist attractions.

I maintain that while outwardly we may turn up our noses at our heritage, we still reach for the stories that are part of our human ancestry. We haven’t changed all that much over the centuries – Robin Hood is still spoken of as relevant, Merlin and Arthur still struggle on television with issues of love and war, and the Gods of many lands are now being transformed by cinema into superheroes.

We still need the Bards, the storytellers of our people, because we need someone to cut through all that noise of social media – even if just for a moment. 90 minutes of a movie; 4 minutes of a song; 400 pages of a novel. We pause, as our ancestors did, to pay attention. We read reviews, chat amongst ourselves, discuss relevance and deeper meaning. We take certain characters as favourites, then ask ourselves why this is so. Is it not telling that Loki, the ‘Avengers’ villain, is more popular than any of the heroes? Or that tales of fantasy and magic are seeing a surge in sales, from Pratchett back to Tolkien?

As Pagans, we can acknowledge this connection, this need for a Bard, to guide us and inspire us, to kick us and provoke us to think. No ‘X-Factor’ hero – the Bard is wild, unfettered, roaming where he (or she) pleases, uncaring of public opinion. Joss Whedon, Stan Lee, Stephen King and Alan Moore carry on writing, through rise or fall, critical success or slate. I’ve no doubt that we can all name smaller, quieter names who perform, write or present their art regardless of ‘fame’ – monetary return helps, but they would still scribble, sing or paint, because they feel that call inside to do so. When the Awen flows, or the Muse calls, the Bard must respond.

I also firmly believe that we have this ability within us all. No matter what our creativity, we need to demonstrate our perception of the world somehow, getting it out onto page, canvas or musical vibration just to express our connection to the world with the world. We may be nervous of showing that innermost secret work… but if truly told, the spirit of the Bard is clear, creating understanding as others see their own thoughts in your creation. They may then even be inspired to make their own.

So, now, I ask you to consider your own story. Are you proud to tell it? Why – or why not? It’s your story, after all. Would you rather truth or a fable? Can the two not merge into something fantastic and memorable? When you take your place among the ancestors, how will your tale be remembered?

Dare to listen more deeply to the stories around you. And then, please, be brave enough to add your own.

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Dreams and Stories

An early one today. I’ve not long woken from a very engrossing and interesting dream, in which I became aware enough to properly take note of what was happening. It inspired me enough that I want to share.

In the dream, I was in a place similar to an American-style shopping mall… but it was clearly a little different. I went into a bookstore (naturally), which seemed like Borders. Except that every book was a Horror title. And not just ‘Horror’ in genre, but I could feel the dark energy flowing from the book, with blackness seeping from the pages. These were Horror books where the full origins and consequences of the story were very, very real. The terror was tangible, with that heartfelt (stomach-clenching) truth felt in dreams.

I looked around. The other customers were monsters. And not just simple cutesy monsters, in a nice, manageable sense – proper evil, roaming around me.

They looked at me, the tiny human standing among them. They acknowledged me, like any other person in the regular world while shopping. And they moved on.

Was I in a nightmare? The familiar world of the bookstore, which used to be a haven for me in the bustling corporate nastiness of a shopping centre, transformed into a trap? Should I start running?

I found my way outside and asked someone. He smiled at me.

“Well, it’s you, isn’t it. I mean, look at you!”

I looked at myself. Seemed normal. I explained that I couldn’t see what he saw in me. He smiled again, and showed me.

Slowly, a vision appeared, of myself… clad in smooth black armour, almost like an insectile carapace, flowing around me, holding gracefully around my limbs as I moved. It was as impossible as the rest of the surroundings – but I was fearsome. I felt strong.

The monsters left me alone, because I was prepared.

The lucid nature of the dream leads me to believe that it was rather more of a shamanic experience than I thought, at first. I woke feeling refreshed but also inspired, to investigate what I had learned.

I’ve always loved horror books. Even those that aren’t ostensibly horror, when I first started to explore the library – Grimm’s Fairy Tales, for example, or the slightly more subversive children’s books (before Young Adult became a genre). Roald Dahl knew that kids like to scare themselves silly. When you’re young, you’re in a world that seems insane, with irrational rules and unknowns around every corner. You learn to survive, a fact reflected in all of those stories of brave young heroes doing their best. Look at the Narnia stories, with each of the four children facing their own challenge (I was also disappointed that poor Susan finally succumbed in the last book, to boring adulthood).

At University, my dissertation thesis was on the American Horror Novel. I haven’t been able to read a Stephen King novel since, but that’s due to overload. I still love seeing where the genre goes, as it reaches out into the fears of a new generation. The exploration of how we can survive.

My knowledge of Horror as a ‘type’ seems to have armoured me – but it wasn’t a preventative, a physical block. My armour flowed with me, so that I could deal with what was to come on my terms. I was the reader; I was prepared (as best I could be). But there was also a certain advantage gained from the knowledge that I deeply, truly love the stories that I’m engaging with.

Those folk who want to ban or censor so-called ‘dangerous’ books have always rather misunderstood what they’re dealing with. If your favourite book is ‘Carrie’, you’re not going to emulate the events of the novel – the book is a catharsis, helping you to deal with bullying, for example, through the extreme conclusion of the story. It’s relatively simple, but still a fairytale (unless any readers have telekinesis, in which case we might be in trouble).

The man who shot John Lennon had been reading ‘Carrie’. What does that mean? Not a great deal, I’d say. Based on sales, he was one among many millions.

Genre fiction is often sneered at. ‘Horror’ is sidelined, never receiving any mainstream awards. As if we’re scared of it? Or we just don’t know what to do with it, in its extreme, fantastic nature? A little like ‘Metal’ music, if you don’t understand its passion, it’s easy to denigrate.

Stephen King knows this. In his wonderful book about horror, ‘Danse Macabre’, he suggests that each of us have our fears, genetically carried through our human/animal line from our ancestors since their cave days (I’ve seen this in psychological books as well, interestingly). That fear is like a gorilla – it can run rampant, sending us into rage or madness as we lash out. Most of us have learned to cage the gorilla, so we can function in society. Some haven’t, and they’re the ones who get locked away.

The danger, King says, is those people whose cage has become rusted shut. They haven’t let the gorilla out to play enough, or even acknowledged it, in a conscious manner. Those people believe that they have conquered their fears. They haven’t. The gorilla is just waiting for the right moment… but the sad thing is that by locking it away, they are missing out on – hiding – a part of themselves.

Whether you deal with your fears by imagination (books, movies, video games) or extreme physical action (rollercoasters, bungee jumping), we have to face our fears sooner or later in life. And chances are, we’ll actually be able to manage. The fear of the fear is usually worse than the fear itself – so many stories tell us that. ‘Alien’ showed that the monster we couldn’t see was scarier than the physical creature that we could. Once the baddie appears in front of us, we can deal with it (somehow). Even if it seems insurmountable, we can do something, once we confront it with eyes open.

The baddies in story are often more interesting than the heroes – because there’s more to explore, more that we want to know. The recent Joker depiction by Heath Ledger was terrifying because his motivation was pretty much nil – that’s not a horror device, that’s sociological. That character could have existed in any genre of tale. The Destructive Force of Nature… who looks like one of us.

Our love of story is a very human trait, almost a need. We carry it from our ancestors, and use it to tell tales that would be familiar to them. The Vampire, the Werewolf, the Thing without a Name – each generation carries these on, finding its own Bards. But also the Hero and the Heroine (not at all in a submissive sense)… and Us. The reader, outside the tale looking in, but also so very much engaged with what’s going on. It’s just a matter of how we relate and understand.

How we tell our own stories. And how prepared we are to deal with the events that are yet to come – not hiding, but engaging, seeking understanding, and taking right action. On our own terms.

Sometimes we do need to hide, like our scared animal ancestors. But sooner or later, we have to stand. It’s good to know your own self, your strengths and your fears, when that time comes.

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Listening

Yesterday, I was watching one of the nostalgia television shows that seem to be rife at this time of year. A children’s show of the 1990s had a phone-in game, where clues were given and a phrase had to be guessed by the young callers to win a prize. One rule: the phrase had to rhyme.

(Yes, those UK folk who remember such Saturday morning ‘wackiness’ may well know ‘Wonky Donkey’. Even if you weren’t there, does the name give you the idea?)

The presenter admitted that he would often go crazy into the camera lens, yelling at the audience, because each caller seemed not to understand that One. Little. Rule.  Kids called in and then just said anything, with no chance of winning because they just weren’t keeping to that simple statement. Were they not listening?!

It struck me then, just how apt this question is.

How often are we listening, really? We hear soundbites on the news and think we know the whole story. Someone tells an anecdote and we cast our own imprint onto it, subtly changing the tone, so that if we tell it in turn, it’ll be just that little bit different. Chinese Whispers in the everyday.

My partner is regularly frustrated by those who call Emergency Services demanding help, and yet on the basic request for their address, start shouting anything but – including ‘Why aren’t you here yet?’ Because they haven’t given the address, as asked. Such a little thing, subsumed by fear, lack of control, and sheer animal panic.

And yet, we always do know best, don’t we? It’s hard to shake the confidence of some people. You’re told a story that you know isn’t quite true, but when you try to correct the teller, it’s you who’s wrong (even if you were there at the time). The person who wouldn’t give their address may well report that the call-taker was stupid for not knowing (somehow) where he was, or what he wanted… despite this being impossible.

Modern technology doesn’t help. With the constant ‘What is your status?’ demand of social media, our interior monologue is constant, like the film noir voiceover as we narrate our own stories. We are the centre of our worlds, and therefore can’t comprehend data that we don’t understand, fitting it instead somehow into our worldview – even if that makes it very different to the truth. Despite the fact that the world is so complex, understanding any one tiny particle of it is a task in itself. Impossible to sum up in 140 characters.

It sometimes feels to me as if the world shifts with the telling (and mis-telling, and re-telling) of each story. Why does my recollection differ so drastically from what I’m hearing? Why is my knowledge of those ‘facts’ so different? Why does my side of a conversation seem to change in midair, as the response is so unrelated?

Ultimately, one crucial facet of the skill of listening is determining the motivation behind the story, the manner in which it’s told, the goal of the teller. What are they trying to achieve, what feelings do they want to evoke, reactions, emotions? As I said, each person colours their own tale to suit themselves. That’s part of the story. Different words carry different meanings to different people, after all.

We’re told (by Roman historians) that the ancient Bards used amazing mnemonic skills to recall verbatim the ancient sagas, passing on tales, family lineage and history, without tempering it in the slightest with their own personality, not even in the inflections of speech. This is a skill indeed (if true), and one which I think we have largely lost, despite our insistence sometimes on ‘proper’ versions of tales.

But then, I would question the value of such retelling. Is that not the other extreme? From randomly changing a story to not changing it at all? Everything changes, evolves, moves. Our understanding of history is coloured by our modern lives. Is anything we listen to truly neutral? And how valuable would it be if it was?

Part of my original Druid training was to simply listen. The simple part: to go out to a wild place in Nature, and do nothing. Sit and listen. Or walk and listen. Just hear – the birds, the trees, the small creatures, the shouts of children, aeroplanes far overhead. To feel myself in that picture of sound, my place within it, observing while being part of it.

Then the difficult bit: to listen when in the full flow of the everyday world. On train station platforms, in offices, on streets, in marketplaces, at home. The television, the radio, songs. What am I listening to? Why? What does it mean – no, really mean?

A child, screaming in a supermarket. Do you hear his words, what he wants? Or just the noise, as you will him to be quiet?

The simple phrase ‘I’m fine’ from a friend… who clearly isn’t. What are they trying to say, in the tones around the words?

A retelling of a much-loved story – Robin Hood, for example, or King Arthur. Are you hearing the flow of this story, or feeling it shaded by what’s gone before, your own experience of the tale, frustration at perceived errors?

This blog post, like most things I write, is in the hope of inspiring. Not guilt, not at all – we’re all guilty of the above faults, that’s just part of being a human in the world today. But without going back and re-reading, how much did you take in? How much of me did you ‘hear’, over the voice in your own head providing commentary? Were you judging my words, providing your own similar experiences, laughing or disagreeing? The tale is being told, here in black and white as I type. It’s being coloured by you, the reader, as you ‘listen’ to my virtual voice and make it your own.

Listen then, lovely readers, as you go about your life today. Feel the stories going on around you – and your part within that larger flow of time and space. Such a simple thing. Yet such a challenge.

What do you hear – and what do you understand?

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Life – a Tale Told…

Sometimes it’s all about the words. And sometimes, words just aren’t enough.

It’s part of our makeup as humans to communicate, to convey our experiences to others, both as a validation and to make sense of them to ourselves. We journal as an act of personal psychiatry and historical record. We blog to tell our stories to others, and to throw ideas out into the wider world, entirely unknowing of who will read them.

The paradox of what could be called Contemporary Pagan Practice (or 21st Century Magic, if you want to be glamorous) is that so much of it is hidden behind words. So many books, websites, so much talking, setting down traditions in stones of words mortared with vague ideas… and yet not much of it actually containing much that helps. So many secrets… or are they, really?

Since my last post, I’ve been pondering those Pagan ‘absolutes’, those key tenets that we are taught to work from. Each theory came from another after all, like any philosophy, those stones building on the work of others, tested by new readers/practitioners for strength and relevance, and built on in turn.

But how lazy have we become, with our ready supply of electronic information? Remember when to find something out you had to actively seek it? Go to libraries, order books from far away, write letters to pick the brains of others. Now the dilemma (and skill) is sifting through the overload of data, the ‘fact’ from opinion, the truth from fiction. Isn’t it just easier to pick the ‘facts’ that we like and work from them, without testing them to see if they actually fit our own needs, worldview, life?

And that in itself is another paradox. How can any spiritual ‘truth’ truly be true? Surely every spiritual experience is subjective, open to interpretation… and when turned into words, pinned down like a butterfly in a presentation frame, losing so much of its reality as to be useless – or at best, a story.

I know that the irony here is my writing of such things itself being so limiting, as I try to pin down concepts that are just too amorphous to be adequately portrayed in language. But that’s the rub for me – that’s the mystery itself.

The ancient Bards told stories to convey meanings, human truths that exist beyond ages, passed down through generations. Life is hard, but we’ve lived it – here’s part of the map that might help. Stories worth telling and re-telling. The value of fiction is lost, found, lost again, repackaged, hidden in marketing jargon… but when the words themselves convey Truth, you read or hear them and feel the difference. Compare a daily newspaper story with a much-loved tale that you know so well, you could almost quote it. Or imagine it so vividly that you could describe the landscape, how the wind feels as it blows across moors in Middle Earth, the stink of smoke in Victorian London, the fear in the heart of a lost hero.

True words are more than just swirls on pages (or pixels on screens). Words told well can go deeper, past the intellectual, the grammatically correct, the Award-winning. Enduring words pierce the heart, the soul, conveying experiences that we all know at some level, or want to know, actively seeking out again to feel for ourselves.

This is the heart of the Bardic mystery, for me – where words resonate as experiences.

Paganism (ancient or modern), as it is understood as seeing the sacred in the world around, conveys in words what has been called a ‘mystery religion’. In other words – ahem – you need to understand the mystery to gain the knowledge. It’s experiential. Books can guide, but only you can get out there and really do.

And that, dear reader, is the laziness we so often see. People want the books to give them answers, which they can learn and parrot back without true understanding. We all do it, there’s no shame – that’s how we’re taught these days. 2+2=4 (allegedly). Or the simpler alternative: the soundbite. Look deeper? Why should we, the story’s right there in the headline! But then as a young practitioner, someone will ask you a question about those rote-beliefs and over-simplistic statements… and you’ll realize how little you truly to know.

This is the point where many step away, returning to something a little safer, more easily quantified and understood. Those who continue are essentially readying themselves for the next step – moving into the story, becoming the hero, aiming to take part in the journey to understand where the writer is coming from. And, in due course, having their own story to tell, being a guide themselves, with all of the hard-won scars they earned along the way.

So what’s the point of the words? As I said, maps are handy, guidebooks, stories from those who’ve been there before. Every journey is unique (ask any explorer), but it’s always nice to set off with a rough idea of where you’re going and what you’re going to get into.

To me, Pagan/Druid (whatever label-word you wish) practice is tangible. Proper practice, that is – real work. Feeling the change in the seasons, the different tastes of energy in a crowded room, woodland, seashore or street. The deeper knowing that goes past the regular sensory input – seeing the relationships, the meanings, the motivations, the undercurrents. Going beyond the directions and out the other side of the map book: blank page, ‘Here be Dragons’.

The difference, for example, between casting a circle as per the instructions in your first guidebook and truly doing it truly, your way, when needed. The worry in the back of your mind that you’re ‘doing it wrong’, something bad may happen, you’ll feel stupid, it’s all just playing about anyway. Then the achievement of actually feeling that connection as you work with spirit, energy, however you wish to define it. Gained by practising, getting it wrong a few times, stumbling and carrying on anyway.

That’s what helps you build your own map. Describe it with words if it helps, but the memories of those experiences become familiar with practice, even with their subtle differences based on time, location and situation. Then you know what you’re aiming for, the goal, the circuitous route to it from the initial idea of ‘I want to perform a rite for this reason’ to standing there, at the focal point of that journey, almost at the summit and prepared to truly do

When it’s no longer about having the right coloured candles or the Very Expensive Altar Tools. Your Gods will know what you mean – step forward with honour and trust (in ritual and in life… because what’s the difference, anyway?).

This post was inspired by reading the story of a City magician, scrawling his runes in spray-paint on walls, recognising the power that we give to simple symbols – the Apple, the Golden Arches – and the simple transport magic of waving a Travelcard in the right place. The protection rite of a Lollipop Man, with his gilded robe and staff. The magical web of social media sites. We take so much for granted, that this is appropriate, that is not. What works for us, personally, ourselves? What stories do we live in, every day?

When the Bard tells his story, listen to the words. Listen deeper. See the look in his eyes, the smile on her lips. For a tale to truly be told, it must be known inside and out, otherwise the discordance is audible. The note struck true, the poetry of inspiration, Awen, muse, conveyed through a skilled traveller, is no substitute for your own experience – but if it inspires you in turn, it has fulfilled its purpose.

Sometimes a metaphorical lightbulb over the head; a cosmic kick in the rear; an ‘oh yeah, silly me’ moment when something clicks into place. The words get us there… if we let them. Learn to listen, but then be brave enough to explore for yourself. Have no doubt that someone will listen to your tale in future, to chart their own course.

As I’ve said before, you’re never alone.

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To Live Your Story

Stories have always been at the heart of my life. From the earliest days of having them read to me, to learning to read myself… and then I was off and running! I’ve often been accused of being a ‘book addict’, but my argument is that it’s at least a non-lethal addiction, and certainly less expensive than some alternatives.

Image taken from here (used without permission but with grateful thanks).

As a species, we have always told stories. The camp-fire tale is one of the oldest, and most fundamentally thrilling fiction (maybe) out there. It developed into the ballad, the urban myth, the mass-marketed best-seller. And from time to time, great stories are told that really make an impact on the wider world – whether re-telling the Hero’s Journey (eg Harry Potter) or reflecting society back at itself in the form of entertainment: almost a subtle satire, as the Ancient Greeks knew.

The Druids were famed for their storytelling. The Bard, wandering the land carrying the tales of the tribes, as well as forming new histories based on current events. From intentionally formal anecdotes to mythological allegories, he (or she) held the secrets of land and people, and was valued accordingly. The Bard would be welcomed at hearth and table from ancient times up to the middle ages, until the advent of the printing press. And while books are my passion, an imaginative experience inside my head, nothing compares to having a tale told – as live theatre can/not compare to a movie. It’s a skill that is as rare in the modern world as it ever was – true inspiration cannot be taught, it must be experienced and developed.

The popularity of different themes in modern children’s storytelling comes in waves. The ‘Choose Your Own Adventure‘ books of the 80s, I recall, as well as  Enid Blyton and Roald Dahl; Diana Wynne Jones in the ’90s. Then, of course, the aforementioned Potter deluge, itself performing the minor miracle of getting otherwise apathetic kids back into bookstores and libraries. Recently, however, an altogether different trend has been forming.

I’m not sure if it was the first, but when I encountered ‘The Hunger Games‘, I was, like so many others, both shocked and drawn in. From the ancient tale of Theseus, combined with the popcorn, throwaway soundbites of reality television, this story (and now movie) is no magical Potterverse. There seems to be a new wave of books for Young Adults (a relatively new genre in itself) looking at dystopian futures… and, in the process, performing the original role of a ‘viral’ story that passes from mouth to mouth: that of the learning experience.

An ancient tale is pushed into the future, by way of a satire on modern habits. We are forced to ask ourselves what we would do in a given situation – this is hardly a true children’s book, but it carries a clear moral, like any good fairytale. I do wonder if parents know what their youngsters are reading – and I’m amazed (and very glad) that the movie was made at all!

Because these books are teaching young people to THINK. They’re encouraging the ‘outsider’ to take pride in themselves, to use their skills to survive – something that every kid learns early on in the schoolroom, with its political cliques and strange ‘norms’. It may be considered escapist fiction, but these tales are actively encouraging the questioning of authority, the importance of individual thought, and the strength to speak up and act against a failed system. This is almost revolutionary. Not the punk kicking-out of the ’80s, but articulate and active anarchism, in its truest sense.

The news often speaks to us these days of young people in gangs, getting shot or stabbed for trivial reasons, but rarely goes into detail as to the reasons behind it. Far easier to blame ‘society.’ But writers – notably John Wyndham and Roald Dahl again – have always known that in each generation, adults who have distanced themselves from their children (not always by choice) can feel afraid, threatened by the strangeness of these curious, active, questioning strangers in their homes. The Childcatcher still scares us – that somehow warped adult whose specific function is to Shut Children Up (we never do find out what he does with those he’s caught, do we?).

Children challenge, in their quest to make sense of the world. Adults should, but many seem to forget how. Sometimes it may be easier to allow the television to become a nanny, but that won’t be enough. Censors have never understood that banning something, or allowing it to be omitted, simply encourages folk to go looking for what they’re not permitted to see.

Many parents I know today delight in teaching their youngsters, encouraging them to explore, read, play. If you’re old enough to ask questions, you’re old enough to hear answers – but they must be conveyed in a way that enables understanding. Television is a mass-market medium, and cannot always provide this.

But while advertisements and a certain type of children’s television seems to actively encourage being ‘one of the herd’ – having the latest style of clothes, make-up, trendy toys, shoes and so forth – there are these quietly subversive texts appearing. Very well written indeed (far removed from the insipid, unquestioning escapism of a certain glittering vampire series), their voices are being heard.

What stories are we telling, then? With our cynical whingeing (look at any national News broadcast), sense of doom rather than optimism, lack of encouragement to do anything because everything is depressed – in mind, body, spirit and bank account.

Or are we following the example of these children who live in worlds far worse than we could ever realize (I hope)… and discovering our own skills, our priorities, what we need to know and do to actively survive? It’s not about greed, acquisition, consumption – it’s about discovery, true friendship, inner truth, and living life well against adversity.

The world may have gone mad, but the storyteller still walks among us. Are you listening? And what is your  tale adding to that of those around?

Further reading:

The Hunger Games, by Suzanne Collins

The Hunt, by Andrew Fukuda

The Mall, by S.L. Grey

Wither, by Lauren DeStefano

The Iron Thorn, by Caitlin Kittredge

And general dystopian fiction of the moment to choose from at Goodreads.

Image found on random search on pInterest (if source available, please let me know to update)

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