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The Monday Morning Memo

Christopher Booker offers marvelous insights into storytelling in 
The Seven Basic Plots: Why We Tell Stories

Although Booker’s book about books offers a lot more than a simple list
of the 7 essential plots, I’ll give you a glimpse of them to quench your thirst:

1. Overcoming the monster
    (David and Goliath)

2. Rags to riches
    (Cinderella)

3. The Quest: traveller, fighting evil
    (Odysseus)

4. Voyage and return: hero returns from abroad, renewed
    (Robinson Crusoe)

5. Comedy: confusion reigns, happy ending
    (A Midsummer Night’s Dream)

6. Tragedy: human overreaching, terrible consequences
    (Oedipus)

7. Rebirth
    (Scrooge)

“To him she seemed so beautiful, so seductive, so different from ordinary people, that he could not understand why no one was as disturbed as he by the clicking of her heels on the paving stones, why no one else’s heart was wild with the breeze stirred by the sighs of her veils, why everyone did not go mad with the movements of her braid, the flight of her hands, the gold of her laughter. He had not missed a single one of her gestures, not one of the indications of her character, but he did not dare approach her for fear of destroying the spell.”
– Gabriel García Márquez,
   Love in the Time of Cholera

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Random Quote:

“

THERE IS NO WORD

There isn’t a word for walking out of the grocery store with a gallon jug of milk in a plastic sack that should have been bagged in double layers—so that before you are even out the door you feel the weight of the jug dragging the bag down, stretching the thin plastic handles longer and longer and you know it’s only a matter of time until the bottom suddenly splits.

There is no single, unimpeachable word for that vague sensation of something moving away from you as it exceeds its elastic capacity—which is too bad, because that is the word I would like to use to describe standing on the street chatting with an old friend as the awareness grows in me that he is no longer a friend, but only an acquaintance, a person with whom I never made the effort—until this moment, when as we say goodbye I think we share a feeling of relief, a recognition that we have reached the end of a pretense, though to tell the truth what I already am thinking about is my gratitude for language—how it will stretch just so much and no farther; how there are some holes it will not cover up; how it will move, if not inside, then around the circumference of almost anything—how, over the years, it has given me back all the hours and days, all the plodding love and faith, all the misunderstandings and secrets I have willingly poured into it.

“

- Tony Hoagland, “There is No Word,” Application for Release from the Dream (2015)

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