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AULA 6 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
CONTEMPORARY NARRATIVES 
- LANGUAGE, CINEMA, AND 
LITERATURE 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Profª Liane von Mühlen 
 
 
 
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CONVERSA INICIAL 
And so here we are. The final lesson on the journey with contemporary 
narratives. By thinking, researching, writing, and reading the texts on this theme 
we also create narratives. Within the text and context of this creation, we bring our 
multiple identities and perspectives, together with culture(s) and our knowledge of 
the world. 
This chapter is a glance into the future, without neglecting the present, 
however. We start by discussing possibilities of narratology in educational contexts 
now and then, follow with reflections on the idea of life as narrative, making it 
personal and bringing it closer to students, and move on by proposing the 
understanding of how narratives can create a different future and empower people. 
Finally, we are introducing possible strategies and tools to work with narratives and 
summarizing the main ideas developed through the course 
TOPIC 1 – SHAPING OUR PRESENT AND FUTURE 
In the sense of discussing possibilities of narratology in educational 
contexts now and then, we start by saying that narratology has always had a great 
deal with creative writing in the education context. 
That narratives have changed along times is a fact, and that they are in 
constant movement is also true. Amon (2020), on this topic, mentions the evolution 
of narratives in the teaching learning process. 
The narratives that can be created in the context of a teaching-learning 
process have evolved alongside the technical means today available. 
Narratives are no longer restricted to a textual form and could be 
transmitted and received as an audiovisual product and have a 
significantly wide palette of forms appealing to a larger portion of the 
senses and allowing a better immersion in the world they present while 
requiring less effort on behalf of the audience. However, narrations are a 
communicative process, and as such it depends on the audience and its 
reaction. (Amon, 2020, p. 2) 
Among the technical means to which the author refers are the narratives 
produced and seen in multiplatform. It is so that we have heard of and seen more 
and more on the topic of transmedia narratives. From the traditional forms and 
ways of producing, reading, listening, and watching narratives, what seems to have 
caught the students’ attention more recently is related to their senses. Besides that, 
what young people look for is having experiences. Amon (2020) argues that, for 
 
 
 
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these students, interpretation, negotiation, and meaning making is what they 
expect to be able to do in the future. 
Teaching and learning experiences are a complex formed at least by 
visual, auditory, and verbal stimuli combined in specific modes, 
stimulating multilayered sensitive emotional experiences. These 
experiences should be conceptualized as one interconnected complex 
as far as students, as stated before, need to develop tools for 
interpretation, negotiation, and meaning-making of the information they 
are constantly exposed to. Taking into account that in a rapidly changing 
world it is not possible to conjecture what kind of knowledge will students 
need in their future lives, these experiences are highly relevant in any 
educational process. They need to be given tools for future interpretation 
of facts. Bare facts are meaningless for them. (Amon, 2020, p. 2) 
From oral and written narratives to a new concept of producing narratives, 
there is no way to deny how technology has changed and will modify even more 
the way we conceived the teaching-learning process. The combination of modes 
and means has taken narrative production to a new level and, at least to us, there 
is no going back to the old times and no way out of this digital reality. A combination 
of digitality aligned with students’ perceptions are promoting changes in the 
classroom. Amon (2020) reflects on education and technological development. 
In the field of art education it is worth noting in today’s school the fact that 
5the majority of the pupils is in daily contact with digital media with its 
colorful, fast-moving sequences of images and, of course, computer 
programs that provide a wide range of possible uses and experimental 
experiences. Scanning and combining images, exploring the possibility 
of multiple printings, and the divergence between printed and screen 
images are only a few possible areas to consider. Numerous images are 
produced with widely available, highly interactive, and user-friendly 
software. These experiences do not only imply increasing speed of 
changing images, mechanical simplicity, and wide possibilities in the 
resolution of different technical processes but, perhaps most of all, a 
specific experience of space perception and representation, which every 
student carries with himself or herself to the classroom and is essential 
to education in general and to art education in particular, not to mention 
the fact that artworks can be easily shown in digital social media as 
Facebook, Instagram, YouTube, and others, creating new forms of artistic 
dialogs that were unimaginable two decades ago. Digital media is also 
making new and unique aesthetic experiences possible and changing the 
way in which art is conceived, created, and perceived. A new world has 
opened for artists as well as educators. Technological development 
requires the teaching profession to make changes at an unprecedented 
rate and opens a wide number of questions. Those connected with the 
impact of transmedia narratives via multimedia technologies on students 
are relevant to teaching as well as to artistic practice. (Amon, 2020, p. 2) 
By conceiving, creating, and perceiving art, including narratives, this way, 
has promoted an outnumber of experiences, not only for students, but also for 
teachers. Contemporary narratives are made of several styles and forms. They are 
diverse, multimodal, intercultural, multimedia, produced by and for people dealing 
 
 
 
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with stories, from the past or present, but there is also criticality in the search of 
understanding text and context, as well as acting for a future with more possibilities. 
As already mentioned before, narratives are contextual. Van der Mieroop, 
Clifton and Schnurr (2022, p. 3), in research on narratives as social practice in 
organizational contexts, bring a definition of context related to narratives: “‘context’ 
is a multi-layered concept, and while it is thus possible that narrators make relevant 
a multiplicity of contextual layers in the stories they tell, often the exploration of the 
relation between narratives and ‘only’ one or two contextual layers in capitalized 
on”. This makes us think of how often we have perceived or analyzed basically 
one, at most two, layers. What is more, are we aware of the multiplicity of 
contextual layers? In which contextual layers do narratives occur? 
When it comes to education, we have access to the documents and norms 
which regulate the system. In Brazil, according to BNCC – Base Nacional Comum 
Curricular (Brasil, 2018), in the section dedicated to high school education, the 
document mentions that in all fields of social action, certain abilities should the 
contemplated. In working with the Portuguese language, with the so-called 
practices of reading, listening, texts production (oral, written, multi-semiotic) and 
linguistic/semiotic analyzes, when it comes to abilities, the recommendation 
involving narratives is that students should be conducted to 
prepare scripts for the production of various videos (vlog, video clip, video 
short, documentary etc.), theatrical presentations, multimedia and 
transmedia narratives, podcasts, commented playlists, etc., to expand 
the possibilities of meaning production and engage reflexivelyin authorial 
and collective practices. (Brasil, 2018, p. 499, own translation) 
Narratives as the orientation brings it refers to multimedia and transmedia 
narratives, which implies using technology. Key words listed as aim are meaning, 
engagement, and reflexivity during and after the practices. Apart from abilities, 
BNCC also orientates for competencies to be developed by students. In the section 
on Applied Humanities and Social Sciences, still in high school, the guide brings 
as competence to be achieved: 
operationalize concepts such as temporality, memory, identity, society, 
territoriality, spatiality, etc. and different languages and narratives that 
express knowledge, beliefs, values, and practices that allow accessing 
information, solving problems, and, especially, favoring the necessary 
protagonism both at the individual and collective level. (Brasil, 2018, p. 
559, own translation) 
 
 
 
 
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Also, here it points to language and narratives as means for students to be 
able to express not only their knowledge, but also beliefs and values. Furthermore, 
individual or collective practices will enable learners to both access information 
and solve problems, besides making them protagonists of their own lives. 
Narratives in BNCC appear twice again as abilities expected to be under students’ 
domains. 
1) Analyze and compare different sources and narratives expressed in 
various languages, with a view to understanding and critiquing 
philosophical ideas and historical, geographical, political, economic, 
social, environmental, and cultural processes and events. 2) Identify, 
analyze, and discuss the historical, geographical political, economic, 
social, environmental, and cultural circumstances of the emergence of 
conceptual hegemonic matrices (ethnocentrism, evolution, modernity, 
etc.), comparing them to narratives that include other agents and 
discourses. (Brasil, 2018, p. 560, own translation) 
The abilities described refer to, even if not in such as obvious way, criticality, 
linguistic and cultural diversity, agency, and discourse. The BNCC orientations 
signify an advance in terms of multiple issues related to education in Brazil. 
However, we lack some improvement in aspects concerning linguistic policies and 
interculturality, among others. 
TOPIC 2 – LIFE AS NARRATIVE: SELVES 
Making things personal and bringing them closer to students is what we 
propose as reflections on the idea of life as narrative. Paraphrasing philosopher 
René Descartes, we could say: “I narrate, therefore I am”. 
Bruner (2003), on autobiography and culture, presented two theses. In the 
first one, he mentions narrative as the most well-succeeded form of telling how 
one lived. 
We seem to have no other way of describing "lived time" save in the form 
of a narrative. Which is not to say that there are not other temporal forms 
that can be imposed on the experience of time, but none of them 
succeeds in capturing the sense of lived time: not clock or calendrical 
time forms, not serial or cyclical orders, not any of these. (Bruner, 2003, 
p. 692) 
In the second thesis, the author reflects on relations between life and 
narrative. He argues that the same way we construct life, we also construct 
narratives. Moreover, he brings into scene the psychological understanding that 
what we do is recall memories and interpret facts. 
 
 
 
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The mimesis between life so-called and narrative is a two-way affair: that 
is to say, just as art imitates life in Aristotle's sense, so, in Oscar Wilde's, 
life imitates art. Narrative imitates life, life imitates narrative. "Life" in this 
sense is the same kind of construction of the human imagination as "a 
narrative" is. It is constructed by human beings through active 
ratiocination, by the same kind of ratiocination through which we 
construct narratives. When somebody tells you his life—and that is 
principally what we shall be talking about—it is always a cognitive 
achievement rather than a through-the-clear-crystal recital of something 
univocally given. In the end, it is a narrative achievement. There is no 
such thing psychologically as "life itself" At very least, it is a selective 
achievement of memory recall; beyond that, recounting one's life is an 
interpretive feat. Philosophically speaking, it is hard to imagine being a 
naive realist about "life itself". (Bruner, 2003, p. 692) 
According to the author, we select what we want to narrate. It is not every 
single memory that we narrate. Once again, narratives are purposeful and 
intended. That is undeniable. We make choices on how we tell our stories. 
Ely et al. (2007), on the development of the concept of self, describe the 
aging process of dealing with the sense of self in the Western cultures. 
There is a general consensus that young children (less than 6 years of 
age) have an appreciation of the self that is more physical than 
psychological, often focus on routine activities and momentary moods, 
and rarely locate the self in a social context. As children move into the 
school years (6 years and older), the importance of psychological 
attributes increases. Older children have a sense of self that is embedded 
in more enduring activities and moods and in a larger social world. Older 
children are also more likely to be aware of the multidimensional nature 
of the self. As such, they may be more sensitive to the notion of multiple 
selves (the varying selves they can be in varying contexts), and possible 
selves (the selves they might wish to be, or feel they ought to be). (Ely et 
al., 2007, p. 160) 
 
Selves, therefore, are psychological attributes, related to the social contexts 
one is inserted or temporarily transits through. The older one grows, the more 
conscious the person becomes of their selves. 
Bruner (2003, p. 210) claims that “we constantly construct and reconstruct 
a self to meet the needs of the situations we encounter, and do so with the 
guidance of our memories of the past and our hopes for the future”. Consonant to 
that, Guo (2007, p. 182) points out that “the self is one of the most important 
aspects of one’s identity”. In the theoretical positions concerning self identity, Guo 
(2007, p. 182) ads that “it is the self-system that provides meaning to people’s 
experiences”. According to the author, the sense of self (as well as identity) cannot 
be achieved solely. It happens with the participation of others: “the others may 
serve as co-producers of self-feeling and self-understanding, as bearers of the 
standards, as active monitors, or as partners in ongoing internal dialogues” (Guo, 
 
 
 
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2007, p. 182). 
Bamberg, De Fina and Schiffrin (2007, p. 1), among many views of self, 
assume the definition of self “as-speaker/narrator”. At the same time, they admit 
that there are different views of self and that those varied perspectives may cause 
conflict sometimes. The authors claim that they view self and identity: “not as 
essential properties of the person but as constituted in talk and particularly in social 
practice. Moreover, since self and identity are held to be the phenomena that are 
contextually shaped, they are defined and viewed in the plural, as selves and 
identities” (Bamberg; De Fina; Schiffrin, 2007, p. 1). 
In terms of narrative approaches to selves and identities, Bamberg, De Fina 
and Schiffrin (2007) describe some of the different assumptions which they 
consider to be fundamental to narrative studies. Their initial point deals with life, 
biography, and story. 
While narratives can be said to be just one kind of discourse genre 
among others, they have moved into the privileged mode for tying 
together existent analogies between life, biography, and story. And 
although lives are lived and stories told, and although there is a general 
openness to lived lives, ‘narrative coherence’ is seen as the guiding post 
for how lives are actually lived and madesense of in meaningful ways. 
(Bamberg; De Fina; Schiffrin, 2007, p. 5) 
Such coherence is essential to the process of making meaning. Otherwise, 
narratives would probably be bits and pieces rather than life stories, and, therefore, 
any sense would be lost. The authors state that it is the narrative coherence works 
as glue. 
Coherence serves as the structural glue that is added on to life and 
history, or even the “fabric” with which life is imaginable, enabling to 
locate a self with a beginning, a middle and an end. While there are 
different assumptions as to where this glue is “located”, either before the 
story-telling activity (as an internal, experiential, and basically cognitive, 
attempt to plot raw events into meaningful patterns) or in the actual act 
of plotting, i.e., the situated telling of ‘the experience’, narrative is the 
ordering principle that gives meaning to an otherwise meaningless life. In 
short, narrative functions as the glue that enables human life to transcend 
the natural incoherence and discontinuity of the unruly everyday […] by 
imposing a point of origin and an orientation toward closure, and thereby 
structuring the otherwise meaningless into a meaningful life. (Bamberg; 
De Fina; Schiffrin, 2007, p. 5) 
The authors make a point in saying that narratives bring meaning to our 
lives. They structure what was once meaningless, what was once incoherent and 
discontinuous. Through narratives possibilities of establishing origin and closure 
seem to be infinite. Afterall, we should take narrative as a mode of understanding: 
 
 
 
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our stories and stories of the others. 
TOPIC 3 – NARRATIVE TO CREATE POWER 
Distinct projects have multiplied actions on having people working with 
narratives. While they aim to connect future and narratives to empower people, we 
propose ourselves to understand how narratives can create a different future and 
empower people. 
Narrative Initiative is one of those projects which work with children, 
focusing mainly on bringing imagination into their creations. Fickes (2020) argues 
that having this kind of public involved in the project facilitates things, since young 
children do not have such a long history of precedents in narratives. 
Young children bring unlimited possibility to stories about their future. 
Children don’t have narratives bounded by history and precedent. Nor do 
children have deep political and social narratives defining their view of 
what’s possible. Simply put – they can access imagination. We find 
imagination to be both a necessary and strategic component to change. 
Futures work provides tools for bringing imagination to narrative in 
productive and tangible ways. (Fickes, 2020) 
Because children are free of that kind of boundaries in terms of policies and 
politics, they have the potential to create new narratives for the future. Otherwise, 
narrative that were created in the past will influence and control power in the 
present. The author mentions a Transmedia Collage project held in 2017 and 2018, 
in which teenagers living in Chicago took part in. 
The project provided them with the freedom, guidance and resources 
needed to imagine new possible futures. They began by looking at 
community history. In these histories they found narratives defined by the 
past and still holding power. These old narratives weren’t just influencing 
the present. They defined the future’s field of vision. Dominant narratives, 
the teens discovered, force people into a future based on histories, not 
imagination. (Fickes, 2020) 
Key elements mentioned by the author integrated the project, such as 
freedom, guidance, resources, imagination community history, dominant 
narratives. Just by looking at and analyzing the stories created in the past, on can 
build new narratives, and change their future. Past histories cannot define future 
narratives. 
What Fickes (2020) proposes is reverse engineering the future, a process 
which takes some time and investment, but that brings different perspectives on 
narrative and power. 
 
 
 
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The essence of the process is to first name and describe the future. With 
that future in our vision we can talk about, write down and even draw the 
narratives that surround that future. Those narratives describe a history 
that hasn’t been created – a history that isn’t dependent on today’s 
dominant narrative and its power. By reverse engineering the future we 
create new stories. Those stories have people, groups and cultural 
objects in them. Those stories have a feel. They even have smells and 
tastes. (Fickes, 2020) 
Initiative Narrative, according to Fickes (2020) uses a “futures cone” (Voros, 
2003) to work with the representations of potentials for future narratives. The 
reading of the cone (Figure 1) is made starting from the right, with what is possible 
in the future, contrary to what is probable now, which is on the left. The author 
justifies: “we use narrative tools give people language to define actions that let us 
work with the possible, not just the probable” (Fickes, 2020). 
Figure 1 – Futures cone 
Source: Fickes, 2020. Adapted from Voros, 2003, p. 16. 
Squire (2012, p. 69), also about narratives, future, responsibilities, and 
selves, points out that “understanding narratives as embedded in changing 
contexts is also a way of conceptualising their placement in relation to the future - 
and in relation to a responsibility that calls subjects themselves into being”. Only 
by locating and understanding the selves we can take our responsibilities in 
changing future narratives. Derrida (2001) also presents meaning within context 
as relevant in making such changes. 
A simple phrase takes its meaning from a given context, and already 
makes its appeal to another one in which it will be understood; but, of 
course, to be understood it has to transform the context in which it is 
inscribed. As a result, this appeal, this promise of the future, will 
necessarily open up the production of a new context, wherever it may 
happen. The future is not present, but there is an opening onto it; and 
 
 
 
 
 
 
 
 
 
 
 
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because there is a future, a context is always open. What we call opening 
of the context is another name for what is still to come. (Derrida, 2001, p. 
19) 
What the author brings and is of great importance is that even though the 
future is not now, but we can think of it, plan it, work for it. The idea of opening of 
context provides primarily certainty that the future can be changed since the very 
moment we are living now. 
TOPIC 4 – PEDAGOGICAL PRAXIS: STRATEGIES AND TOOLS 
The aim in this topic is to introduce possible strategies and tools to work 
with narratives. As there are countless possibilities, we are presenting some 
strategies/tools which can help to develop narrative initiatives in varied and 
multiple contexts, more specifically the pedagogical ones. In meaning to work with 
narratives, strategies, and tools we are referring to involve mostly sound, image, 
text, and audiovisual. 
When it comes to narrating with sound, possibilities are to do it by creating 
podcasts, web radio or audio-drama. Among these, podcasts have become a 
popular tool. We are living the so-called Golden Age of podcasting. Depending on 
the purposes, working with podcasts can be a great strategy. Backtracks (2022) 
defines a narrative podcast. 
A narrative podcast is one in which the content creator tells a story over 
the course of the podcast. This could be simply an audio book reading 
podcast, or a specific original story, or simply self-narration, such as an 
autobiographical podcast or “day in the life” style podcast, where the 
content creator tells stories about events in their life. (Backtracks, 2022, 
p. 1) 
Narrative podcasts can be hosted by channels on the internet or by digital 
streaming services providers. The advantagesof working with narrative podcasts 
go from low costs to the fact that they are portable. 
The web radio, also called internet radio, is another alternative. Basically, it 
is audio service transmitted via internet. Some web radios are connected to 
traditional radio stations, with simultaneous transmission, while others are 
independent. Web radio can reach any place around the globe if there is internet 
access. 
A third possibility is audio-dramas. Even though some people might say they 
are like audiobooks, that is no true at all. Audio-dramas are much more than an 
 
 
 
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audio version of a text. Audio-dramas are characterized by dramatization, with a 
cast of voices and soundtrack music. 
Narratives with images present a wider range of options: photographs, 
infographics, illustrations, drawings, comics, and memes. Photographs have been 
used for over a century to tell stories. It all started with illustrations and drawings, 
which are still around, but photographs took the visual arts to another level. Taking 
photos of people, places, and objects has helped us to create and tell stories about 
the most diverse themes. 
More recently infographics have also got their space in narration. Huffpost 
(2017) explain how the process of working with infographics works. 
The best infographics are created when a story comes first. In a 
completed piece, every data point, piece of copy, and design element 
should support the story. This does not mean, however, that the story an 
individual or organization wants to tell will intuitively translate to the 
infographic medium. (Huffpost, 2017, p. 1) 
That way the story comes before the infographic creation, but it does not 
mean at all that transporting the narrative to the infographic is an easy task. It 
happens that the narrative elements are not always available on infographics. 
Such medium can be used, for instance, in presenting research data. 
Comics, or comic books, is a medium which combines text and other visual 
information to express ideas and tell stories. Comics are formed by juxtaposing 
sequences of panels with images. Among comics we also find graphic novels, 
comic strips (Image 1), cartoons (Image 2), caricatures (Image 3), and so on. 
Image 1 – Comic strip 
 
Credit: humphrey/Shutterstock. 
 
 
 
 
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Image 2 – Cartoon 
 
Credit: Ellagrin/Shutterstock. 
Image 3 – Caricature 
 
Credit: thongyhod/Shutterstock. 
 
 
 
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However, in terms of images, there is not any other more popular nowadays 
than memes (Image 4). Meme is “and idea, image, video, etc. that is spread very 
quickly on the internet” (Meme, 2022). 
Image 4 – Meme 
 
Credit: Tupungato/Shutterstock. 
When it comes to text, the most well-known tools are blogs, hypertexts, E-
zines, and fanfics. A blog is more likely an online journal. Hypertexts are methods 
of organizing information, such as words, sentences, pages, articles, chapters, 
books, and libraries. It works with a linkage system. E-zines are electronic 
magazines, which sometimes are simply the traditional magazine transported to 
the online world. Fanfics (also called fan fictions) are “stories written about TV, film 
or book characters by their fans (people who admire them), or an example of such 
a story” (Fanfic, 2022). 
Finally, we have the audiovisual possibilities of working with narratives. 
Among them are documentaries, interactive videos, animation videos, and video-
minute. While documentary is a non-fictional film, the others are shorter 
productions. All of them with the purpose of narrating something. 
 
 
 
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There is other several possibilities of working with narratives, mainly on 
social media and by making use of apps. It is just a matter of thinking of a strategy 
and finding a proper tool to narrate whatever one feels like saying or showing. 
Narratives do not need to be in one format or mode only. They can and should be 
diverse, multimodal, and meaning making, changing lives, and opening new 
horizons, contemplating people of all ages and lifestyles, anywhere around the 
globe, at any time. 
TOPIC 5 – FINAL THOUGHTS 
At this point, we are summarizing the main ideas developed through the 
course. We started our journey by addressing narratives as a contextual and 
interdisciplinary theory and the inseparability between form and ideology (or form 
and content). Then, we discussed the cultural aspects of narratives, as well as 
multiple identities and contexts, together with discursive ideologies involving 
narratives. 
After that, we focused on locus of enunciation and on being and acting in 
society as social actors, including the role of emotions in our narratives. We also 
contemplated interrelated modes and ethics in narrating our stories and the stories 
of the others. 
At the next point we reflected on languaging, language as discourse, 
multilingual and plurilingual contexts. Besides that, we investigated translingual 
practices and the development of language through narratives. 
We continued working on language, but this time together with literature and 
cinema, seeing concepts of verbality and iconicity, and adaption to cinema and 
literature. What is more, we revisited elements which compose narratives and 
discussed the narrative genre. 
Following our journey we saw narratives from different times, the main 
aspects of art and AI in narratives, and the role of authorship. Furthermore, we 
discussed criticality within narratives and the role of interculturality in narratology. 
Finally, we had a glance into the future of narratology. Along with that, we 
discussed narratives in relation to educational contexts, and life as narrative. Yet, 
looking into the future, we speculated on how to create a different future and 
empower people. Then, seeing possibilities of strategies and tools to work with 
narratives was our closing topic. 
 
 
 
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Now that we are about finishing this journey, it is fair enough to go back to 
that initial reflection on writing about narratives, which could be seen as a 
challenge or a privilege. It was undoubtedly a challenge! But on the other hand, 
what a great opportunity not only to share, but also to learn, while researching, 
reading, and preparing the lessons. Reflecting on our own narratives and practices, 
viewing possibilities of making things differently and renovating our faith in that 
education is the most powerful tool we have at our disposal. 
What is left is the certainty that not everything about narratives was 
contemplated in these lessons. There is room for much more. One aspect that 
permeated the whole journey and which without it this course would not have 
happened is the human aspect in and of narratives. Making ourselves available to 
read, listen to, hear, and watch each other’s stories can teach and bring us closer 
than ever. 
And so, we come to the end of our own narrative, created, and written 
according to our perspectives and identities, based on our cultures and 
experiences. There is the quote by Jonathan Gottschall (2012, p. 13), which says: 
“We are, as a species, addicted to story. Even when the body goes to sleep, the 
mind stays up all night, telling itself stories.” Hopefully, we keep telling stories, in 
life and in our dreams. If there is nothing left, remember: you have your story to 
tell. A story which is at the same time unique and with lots in common with so many 
other stories. To keep in mind: stories have two sides. The ones you tell and those 
you hear. 
 
 
 
 
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