Telling Stories: Desire, community, formation & 'life'

In the latest edition of Case magazine our writers explore the theme 'Living Stories'. Our intent is to explore the place of story in life, faith and the imagination. In the opening essay I consider the role of stories in Christian formation and begin with a personal reflection. I have no recollection of ever being read to as a child. But by middle age I had concluded that I was raised in a home rich in stories and that these had helped to shape me. My parents had filled my world with their own stories and the texts and stories that had ‘spoken’ to them.

My father was a consummate oral storyteller, and my mother—an entertainer and singer—filled my life with opera, ballads and popular music. As a child my father’s stories of life in Scotland, his battles as a trade union leader, sporting conquests and life's disappointments, had washed over me and engaged me. So too did the stories of my maternal grandfather with whom I stayed during most school holidays—a godly, creative and intelligent man. He was a brilliant inventor and businessman who constantly quoted the Scriptures (especially the Psalms and Proverbs) and recited Australian and Scottish poetry whenever we did things together.

I saw no place for God in my life until I was 31, but I can see with hindsight that my own emerging view of the good life was based as much on my rejection of many of my father’s ideas as my embracing of the alternative narratives of my grandparents and a growing group of Christian friends who had different hopes and desires. This is the way narrative works in our lives. It touches us, teaches us and in time shapes us.

The place of story in our formation

When I use the word ‘story’, I mean more than just an account of imaginary or real people and events told for entertainment’. Rather, I am using it as a variant of ‘narrative’, that is, ‘a spoken or written account of connected events’. I deliberately use ‘story’ because it carries with it the implication of something with an imagined, constructed, purposeful and communicative nature. It includes ‘factual’ recounts and passionately held views expressed in narrative form by way of illustration, anecdote, poem, song and so on. Stories are deeply personal things, and have purposes that go well beyond entertainment or information. Our stories reflect our history, our values, our beliefs, our priorities and our intent when we share them.

'The StoryTeller' Ludwig Knaus (1829-1910) 

Stories are also more than disconnected and isolated accounts. They typically have a relationship to other larger metanarratives. Christian Smith suggests that narratives ‘seek to convey the significance and meaning of events by situating their interaction with or influence on other events and actions in a single, interrelated account’. They include a set of characters or players, both subjects and objects of the action. They have a plot which gives shape to the action (a beginning, middle and end) and they seek to communicate significant points or messages. Smith suggests that in this age dominated by the power of reason and evidence, and the rational over the creative, we are nonetheless still creatures who are ‘the makers, tellers, and believers of narrative construals of existence, history, and purpose’. We make stories and in turn are made by them.

This ‘making’ of us is shaped at least in part by the stories we absorb, give expression to and help create. James K.A. Smith - who will deliver the New College Lectures in 2012 - suggests in his book 'Desiring the Kingdom' that this is not simply a cognitive process. Rather, we are embodied creatures who absorb the stories of life and engage in rituals and cultural practices that shape our desires and our vision of the good life. This argument draws on Charles Taylor’s concept of the ‘social imaginary’ mentioned earlier. Taylor argues that societies are given direction by an imagined and hoped for view of the world. This is not expressed simply in ‘theoretical terms, but is carried in images, stories and legends’. Humans are not given their major focus and direction simply by reasoning, but by the imagination.

Taylor’s use of the term ‘social imaginary’ is quite deliberate. Much broader than an intellectual understanding of reality, his focus is on how people ‘imagine their social surroundings’. While his category is a little slippery and doesn’t address all that we know about memory, thinking and knowledge, the point is worth making. Our imaginations are primed by the narratives we experience in daily life. Thus primed, we develop desires and views of the ‘good life’, accept shared group understandings and make sense of our experiences. The use of the term ‘social imaginary’ emphasises the rich social context in which we make sense of the world, a context influenced as much (or more) by story as by deliberate reasoning. This is not to suggest that our stories are not subjected at times to analysis and critique, but they are often born in life moments where our imaginations are captured, even if only momentarily, by narrative whether heard, read, seen or experienced.

Augustine (Botticelli) courtesy Wiki Commons

The stories that are part of our experience thus shape our vision of the good life; give focus to our desires, and direction to our lives. As well, they contribute to building community. As Oliver O’Donovan reminds us in his book 'Common Objects of Love', a community is ‘a gathered multitude of rational beings united by agreeing to share the things they love’. In essence, people come to see a common ‘view of the good’ and are hence capable of common action, cultural practices and identity

James K.A. Smith agrees with Taylor that our hopes, goals, desires and views are influenced by our imaginative experience of the world, including its stories. Echoing Augustine, he argues that we inhabit the world, not primarily as thinkers or believers, but as ‘more affective, embodied creatures who make our way in the world more by feeling our way around it’. We are above all things ‘agents of love, which takes the structure of desire or longing’. Smith reminds us that our desires are aimed at our hoped for ends (or goals) and set the trajectory for our lives:

…a vision of the good life captures our hearts and imaginations…by painting a picture of what it looks like for us to flourish and live well. This is why such pictures are communicated most powerfully in stories, legends, myths, plays, novels, and films rather than dissertations, messages and monographs.

To be human is to understand our God-given desire to know our purpose in life and, to seek fulfilment in the ‘hoped for’, the ultimate quest of each life. There is an intertextual cacophony of stories that shape us and influence the things we desire, and from these stories we ‘read’ various representations of the future, and alternative visions of human flourishing. In a sense, we are taught, perhaps even lured by these ‘pictures’, these visions of the future.

Other articles in this issue

In the same issue of Case magazine that my own essay appears there are four other essays that explore the theme of 'Living Stories'. These include an essay based on a lecture Bruce Smith gave in 1997, 'Hope and Tragedy in Life and Literature'. Chris Swann explores how the gospel can equip us to engage with stories and literature, Michael Ward writes about C.S. Lewis and imagination and the apologetics of story and William Tate offers an interesting insight into Karl Barth's 'Secular parables'.  You can order the magazine HERE or become a CASE Associate for $AUS 55  which entitles you to 4 issues of Case magazine each year.

Revealing the Truth or Hiding it From Children: Learning from Humpty Dumpty

The BBC created quite a stir two weeks ago when one of its children’s programs altered the words to the children’s rhyme ‘Humpty Dumpty’, in order to give it a more cheerful ending. In the revised edition, instead of all the kings horses and all the kings men not being able to 'put Humpty together again', all the King's horses and men 'made Humpty happy again'. The revision of fairy tales and nursery rhymes isn’t new. In recent years some have been modified to remove racism, sexism and in some cases culturally insensitive material. As well, some have been touched up in order to make them easier to understand for today’s children. But is this always a good idea?

It’s easier to build arguments for removing racism and culturally insensitive material, but the type of revision that Humpty Dumpty has suffered is less justifiable. Why do I say this? I think there are a number of reasons but I’ll comment on just two.

1. Narrative helps to explain and offer a rehearsal
for life

Children’s stories introduce ideas and concepts in narrative form as a type of rehearsal for life. Narrative whether told, heard, seen or written can provide a way to learn about, reflect on and explain life. In fact life always ends in death and there can be suffering, sickness, persecution, fear and sadness along the way. Stories may just as easily give a false impression of life if they distort the nature of human experience, or offer it in a limited way. Life doesn’t always have a happy ending. In fact for all of us it can involve pain and suffering and ultimately will end in death.

How children grow in their understanding of the realities of life varies and causes many parents anguish and sometimes pain. Every parent who has had a tearful child come home complaining about being bullied for the first time; having been teased because of their appearance, body shape etc, will know what I mean. Life requires us to cope and grow with our successes, failures, pain, ridicule, joy and sorrow. But how and when do we deal with such issues? Because children begin life in innocence with no awareness of the hard and sometimes dark side of life, parents are right to be cautious about what concepts they introduce to their children as well as how and when. Greg Thiele’s post on appropriate movies for children (here) dealt with this issue. Children need to grow emotionally and not be forced to deal with issues beyond their stage of emotional development.

Parents are the key to the child’s emotional growth and wellbeing and have the important task of knowing what to say and when to say it to their children. It’s terrifying for any parent to let a child go off to preschool or preschool where we can’t personally respond to every situation. Often the way we respond to our children when they get home is in terms of story or anecdote. The child tells their story about what happens, and the parent often responds in narrative form, “I had something happen to me….”, “It’s a bit like that time that your sister….”, or “Daddy had that happen to him….”.

Beyond real life anecdotes and stories children are introduced to many more serious aspects of the human condition through story. On my other blog ‘Literacy, Families & learning’ I have written about the role that literature plays many times (here). For example, in a post on ‘Conquering Fears’ I explored the role that children’s literature can play in helping children deal with unknown fears and known fears like death, danger and the threats of other children. I also explored the role of literature in understanding ‘Death’ and ‘Being Different’.

Christian parents will of course always want to bring back their discussions with their children to the central narrative of creation that explains all other things. And while the best place for parents to start is in reading the Bible to and with their children, all narrative can provide echoes of the central and foundational human narrative. As I wrote in a previous post on ‘Christian Writing for Children’ (here), the gospel of Christ is the central narrative to which virtually all other narratives have some relationship – certainly in the Western cultural tradition and literature. The central focus of the Bible is Salvation History; with its central narrative tracing both the history of Judaism and Christianity and God’s redemptive plan for his people. In the beginning God created…and it was good. But sin entered the world, man rebelled against him and so God placed a curse upon his creation that one day would end in judgement. But God always had a plan for such rebellion; a plan of redemption motivated by love. An amazing gift of grace; his own son sent to die and three days later to be raised from the dead to defeat sin and death. A plan that provided a way for creation to be restored and for humanity to be brought back into a relationship with him.

The biblical narrative of God’s redemptive plan and work is the central narrative that gives shape to all other narratives. In every story there is a sense in which there is an echo of the biblical narrative. J.R.R. Tolkien once said (to his friend C.S. Lewis) that “The Christian story is the greatest story of them all. Because it’s the real story. The historical event that fulfils the tales and shows us what they mean." Lewis and Tolkien both saw the gospel narrative as the central or foundational human narrative.

2. Back to ‘Humpty Dumpty’: Disconnecting stories from ultimate truth

So does it matter that they’ve messed up ‘Humpty Dumpty’? I think so, but probably for different reasons than Ricky Gervais who is also fired up about the matter (see below). There are two good reasons. First, in messing about with a simple rhyme or fairy tale we strip away the depth of meaning and possibilities that were originally intended by the writer. Most fairy tales, in fact most children’s stories have many layers of intended meaning. In fact, many well known nursery rhymes and playground chants have deep political meanings. I’m preparing a separate post on this for my other blog, but let me illustrate with poor old ‘Humpty’.

We're not certain what the original intent of Humpty Dumpty. Some suggest Humpty Dumpty was a colloquial term used in fifteenth century England to describe an overweight person. Others suggest that the ‘Humpty Dumpty’ of the nursery rhyme was a large cannon used in the English Civil War (1642 - 1649) as part of the siege of Colchester (1648) by the Parliamentarians (Roundheads). It is believed that the cannon was placed on the city wall near St Mary’s Church (opposite - Colchester Arts Centre today). It has been suggested in one account that a shot from the cannon of the Roundheads succeeded in damaging the wall beneath ‘Humpty Dumpty’ that caused it to fall to the ground. The Royalists tried to restore it but 'all the King's men' couldn’t raise the canon back onto another section of the wall due to its weight. The town of Colchester eventually fell after a siege of eleven weeks. Many now doubt this reading of Humpty. Some suggest that it alludes to English King Richard III and the Oxford Dictionary refers to 'Humpty Dumpty' as a brandy drink boiled with ale. I like the siege of Colchester version but it is difficult to know the truth of the rhyme.

So at one level, changing the ending simply relegates this rhyme to a playground chant with a happy ending. But at a more fundamental level, the change to the rhyme strips away a connection or echo of the divine narrative. Changing the ending as they did is to suggest a lie to our children (if repeated). Instead, children must learn (eventually) that life can take twists and turns that we don’t expect, and that for all of us it will end up in death. But they also need to learn over time that while there is pain and loss in life, there is also joy and hope, and that ultimately we will be ‘put back together again’ just like the cannon (or the egg!) in and through Christ. Our only hope is in him, and we need not despair or be fearful of death.

For I consider that the sufferings of this present time are not worth comparing with the glory that is to be revealed to us. 19For the creation waits with eager longing for the revealing of the sons of God. 20For the creation was subjected to futility, not willingly, but because of him who subjected it, in hope 21that the creation itself will be set free from its bondage to corruption and obtain the freedom of the glory of the children of God. 22For we know that the whole creation has been groaning together in the pains of childbirth until now. 23And not only the creation, but we ourselves, who have the firstfruits of the Spirit, groan inwardly as we wait eagerly for adoption as sons, the redemption of our bodies. 24For in this hope we were saved. Now hope that is seen is not hope. For who hopes for what he sees? 25But if we hope for what we do not see, we wait for it with patience. (Romans 8:18-25)

3. Just for fun – Rick Gervais on Humpty

I don't want to trivialise a serious post, but I enjoyed the 'analysis' of Humpty Dumpty by Ricky Gervais. Gervais is one of my favourite comedians (star of the British TV series ‘The Office’) has a rant about what they did to Humpty. Apologies for some of his language.

Related Posts

Report in 'The Independent' on the BBC changes to 'Humpty Dumpty' (here)

Sydney Morning Hearld report on the story (here)

Remembering the importance of literature in Book Week

My daughter has reminded me through an entry in her Blog that it is Book Week. As someone who has written about and taught children’s literature for almost 30 years, I shouldn’t have needed reminding. So I thought I’d take the opportunity to remind CASE readers of the importance and power of literature for children. Christians are people of the Word, so Christian parents have good reason to do anything possible to support their children’s literacy development and growing understanding of language. Narrative is a vital part of life. Much of life is impacted by ‘story’. In a sense, life is a grand narrative made up of countless sub narratives. And of course narrative is an important genre within the Bible. It shouldn't surprise us then that children's literature is one of the most common and effective ways to introduce children to literacy.

Of course a piece of literature is more than just a good story. I wrote in one of my books (Pathways to Literacy, Cairney 1995, p.77-78) that literature could act as:

* a mirror to enable readers to reflect on life problems and circumstances
* a source of knowledge
* a source of ideological challenge
* a means to peer into the past, and the future
* a vehicle to other places
* a means to reflect on inner struggles
* an introduction to the realities of life and death
* a vehicle for the raising and discussion of social issues

As well as helping our children to be comfortable using language and to become readers, literature offers all of the above opportunities, and provides parents with a rich and enjoyable means to apply the wisdom of God to the stories our children read. A few basic hints:

* Read from birth (yes, the first few days if you can cope and find time). In fact, you can start before birth, my children both read to my grandchildren in the womb!
* Don’t stop reading when your children learn to read themselves – read to them (even up to 12 years of age), read with them (I read with my teenage children), read the same books at times so that you can talk about the content of what they are reading and then apply biblical understanding to the events and character’s lives that they are encountering. This is part of developing common ground – things to talk about.
* DON’T turn every reading event into a Bible study or lesson. We seek to integrate Christian teaching into our children’s lives, and their reading should be no different. Discussion of how our faith helps us to understand books will hopefully occur as naturally as possible at just the right time.
* Do involve yourself in the choices your children make about books. Help them to choose books that they will like. Help them to make wise choices about books that aren’t appropriate for them.
* DON'T forget that our children need to understand that the stories we read don't represent truth as the Bible does, but that the events of stories have parallels in life and that only the Bible can give us true wisdom to make sense of life.

Here are a few books that you and your children will find rewarding and enjoyable and that will offer great opportunities to talk about the Bible's teaching.

1. Littlies

I’ll always love you, Hans Wilhelm – a delightful picture book that tells of the death of a little boy’s dog called Elfie. This would be appropriate for 4-7 years.

Wilfrid Gordon McDonald Partridge, Mem Fox – the story of a little boy who makes friends with the residents of an aged care facility next door and discovers just how wonderful memories can be. This would suits 3-6 year olds.

Where the wild things are, Maurice Sendak – This classic book has so much to offer. It is about the imaginary adventures of a little boy who is sent to bed without supper after being naughty. Suitable to be read at multiple levels from 3-7 years.

2. Early primary (suitable to be read to children as young as 7 or read by 8 & 9 year olds)

Mike, Brian Caswell – This junior novel tells the story of a boy who moves with his mother from Melbourne to Sydney and of the adjustment problems, including experiencing bullying and making a new friend. The companion story Lisdalia is written from the perspective of his friend who is growing up in a traditional Italian family with all of the struggles you’d expect when living in two cultures.

Tales of fourth grade nothing, Judy Blume – This junior novel tells of the problems an older brother has coping with his little brother, Fudge. Plenty for siblings to relate to here.

Charlotte’s Web, E.B. White – It’s hard to go past this classic tale of survival, hope, life and death. Even if it’s been seen on DVD its worth reading with your children.

3. Upper primary (suitable to read to 10-12 year olds or to be read by 11-13 year olds)

Number the stars, Lois Lowry – This wonderful book tells of the escape of a Danish Jewish family by boat from the Nazis in World War II. A story that touches on numerous themes such as human cruelty, life, death and survival.

The Great Gilly Hopkins, Katherine Paterson – This is the story of a tough little girl who has lived most of her life in foster care. The events of the book are centred on what happens when she goes to live with an elderly woman, Mrs Trottter. Full of rich relational issues.

The machine gunners, Robert Westall – This one is for the boys! Guaranteed to interest any boy. The tale of a group of boys living in Britain through the Blitz, their war souvenir collecting, their brushes with death and of lots of moral choices along the way.

For readers interested in further posts on literature, literacy, families and learning you might find my blog that focuses on these issues of interest.