The Storytelling Animal

Nonfiction | Book | Adult | Published in 2012

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Summary

Background

Chapter Summaries & Analyses

Preface-Chapter 1

Chapters 2-3

Chapters 4-5

Chapters 6-7

Chapters 8-9

Key Figures

Themes

Index of Terms

Important Quotes

Essay Topics

Tools

Beta

Discussion Questions

Chapters 8-9Chapter Summaries & Analyses

Chapter 8 Summary: “Life Stories”

The story of David Carr, a New York Times columnist and person in recovery from addiction, illustrates the fallibility of personal memory. When Carr was writing his memoir, he encountered discrepancies in his recollections during interviews. The chapter also examines James Frey’s memoir, A Million Little Pieces, which blended truth and fiction and led to a public scandal. These examples, along with other infamous cases of fabricated memoirs, demonstrate that memories are often subjective and crafted to provide meaning rather than to strictly adhere to the facts.

“Memory, of Course, Is Never True”

This section highlights the malleability of memory, starting with the case of Marie G., who, under psychological suggestion, falsely remembered witnessing a crime. It discusses “flashbulb memories,” a term coined by Roger Brown and James Kulik to describe people’s vivid memories of where they were during significant events like JFK’s assassination or 9/11. Studies have shown flashbulb memories to be surprisingly inaccurate over time. The text considers how these flawed recollections can shape collective memory, influencing cultural narratives and personal identity, as exemplified by George W. Bush’s incorrect memory of the events of 9/11.

Heroes of Our Own Epics

This section explains how notorious figures like Adolf Hitler and John Wayne Gacy often reshape their memories to see themselves in a more favorable light. Ordinary people also adjust their personal histories to enhance their self-image, as has been shown by psychological studies indicating most people believe they are above average in various aspects of life. This need to maintain a positive self-narrative is crucial for psychological health, influencing daily behavior and broader life decisions. The chapter likens psychotherapy to a script-editing session where therapists help patients reframe their life stories to restore their sense of agency and self-worth.

Chapter 9 Summary: “The Future of Story”

The text delves into the enduring nature of storytelling, asserting that humanity’s engagement with narratives is a fundamental aspect of human nature. While traditional literary forms like novels and poetry might face challenges in the digital era, storytelling itself is not in decline but is rather evolving with technological advancements and cultural shifts. The rise of digital entertainment, such as video games, which now incorporate rich narrative experiences, illustrates this transformation. Despite the decline in some traditional forms, storytelling mediums continue to proliferate and diversify, demonstrating the adaptability of narrative forms to new contexts.

True Lies

This section addresses the transformative landscape of television as a storytelling medium. It highlights the continued potency of TV as a platform for complex narratives, exemplified by critically acclaimed series like The Wire, Mad Men, Breaking Bad, and The Sopranos. These shows counter the notion that television is on a decline due to the popularity of reality TV, which some critics see as a degradation of quality storytelling. However, even reality TV shows employ carefully crafted narratives and character arcs to maximize dramatic impact and viewer engagement. Shows like The Ultimate Fighter and SuperNanny manipulate real events to fit classic narrative structures.

Back to Neverland

This section explores the phenomenon of live-action role-playing games (LARP) as a dynamic form of storytelling. It describes a LARP event where participants fully immerse themselves in fantastical narratives, taking on the roles of knights, fairies, and other characters. This immersive experience, which blends improvisational theater with elements of traditional role-playing games, underscores LARPing as a sophisticated form of storytelling that reflects a broader human inclination toward imaginative play and narrative construction.

O Brave New World!

This section discusses the potential future of storytelling through emerging technologies. It references speculative concepts like Aldous Huxley’s “feelies” in Brave New World and the holodeck from Star Trek: The Next Generation, which offer contrasting visions of narrative’s future. The chapter suggests that storytelling is likely to become more immersive and interactive, akin to the holodeck, where individuals can live out stories in fully interactive environments. This prediction is supported by the popularity and narrative complexity of massively multiplayer online role-playing games (MMORPGs) like World of Warcraft, which allow players to engage in detailed virtual worlds with their own cultures and histories. The chapter posits that storytelling will increasingly be characterized by collective creation and immersive experiences, facilitated by advancements in technology and interactive media.

Exodus

In the final part, the text reflects on a significant shift in human attention from real-world interactions to virtual environments, particularly through MMORPGs. Citing Edward Castronova, it discusses how many individuals find deeper meaning and community in virtual worlds than in their real lives. This segment suggests that as virtual environments become more sophisticated, they might become preferred spaces for narrative engagement, offering richer and more meaningful experiences than those available in the physical world. This trend points to a potential future where the boundaries between reality and virtual storytelling blur, with more people opting for the compelling narratives found in virtual worlds.

Chapters 8-9 Analysis

These chapters deepen the exploration of The Psychological Function of Narrative by examining another kind of narrative, memory. Using two prominent memoirists as examples, Gottschall demonstrates that memories are not reliable archives of facts but are instead malleable constructs shaped by current emotions and later reflections. This selective memory serves to create a coherent life story where individuals often view themselves in a heroic or sympathetic light. Such narratives allow individuals to maintain a positive self-image, which is crucial for mental health and well-being. Gottschall’s analysis of memory as a kind of narrative bolsters his argument that storytelling is woven into the fabric of individual psychology, serving not only as a means of communication but as a fundamental mechanism for understanding one’s identity and place in the world.

Expanding beyond personal narratives, Gottschall discusses how storytelling adapts to cultural and technological shifts, highlighting The Diversity and Universality of Storytelling Across Cultures. He traces the evolution of storytelling from traditional forms like novels and live theater to digital media such as video games and reality TV. This evolution underscores storytelling’s adaptability and enduring appeal. Narratives persist in shaping human experience, regardless of the medium. Gottschall cites modern video games and reality TV shows, arguing that while they are often criticized for diluting narrative quality, in fact they continue to engage audiences through complex storylines and character development. Specifically, live-action role-playing games (LARP) and virtual realities represent a significant shift toward more interactive forms of storytelling, where participants not only consume stories but also contribute to their creation. Looking to the future, Gottschall suggests that storytelling will likely continue to evolve with technology, potentially leading to even more immersive and interactive experiences. This ongoing evolution underscores storytelling’s intrinsic role in human culture. The adaptability of narrative forms, from oral traditions to digital platforms, illustrates the enduring need for stories across time and culture. Although storytelling remains a universal part of human life, it is continually adapted into new forms that resonate with human emotions and intellectual curiosities.

In discussing the evolution of storytelling mediums, Gottschall exhibits an optimistic bias about technological progress. He suggests that new forms of media, like video games and virtual reality, are natural extensions of human storytelling that enrich narrative capabilities. This perspective might overlook potential negative impacts of media evolution, such as the diminishing of face-to-face interactions or the deepening of the digital divide.

Through these insights, Gottschall ultimately argues that storytelling is not merely a form of entertainment but a fundamental aspect of human nature that shapes individual identities, cultural norms, and societal structures. As storytelling mediums evolve, Gottschall argues, so too will the ways in which they influence and reflect human values and experiences.