My MINI Brochure

7/18/2019 My MINI Brochure

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Tell Me a Story

Richard Hamilton

For Emily

This wretched life

is all the life

well ever have.---Shakespeare

FIRST PART

My first job was as a lawyer. I was not a very happy or

inspired lawyer. One night I was driving home listening to

a radio report, and there is something very intimate about

radio: a voice comes out of a machine and into the

listeners ear---with rain pounding the windscreen and onlythe dashboard lights and the stereo for company, I thought

to myself, This is what I want to do. So I became a radio

journalist.

But potent as radio seems, can a recording device ever

fully replicate the experience of listening to a live

storyteller? The folklorist Joseph Bruchac thinks not. The

presence of teller and audience, and the immediacy of the

moment, are not fully captured by any form of technology,

he wrote in a comment piece for The Guardian in 2010.

Unlike the insect frozen in amber, a told story is alive...

The story breathes with the tellers breath. And as

devoted as I am to radio, my recent research into oral

storytelling makes me think that Bruchac may be right.

1


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* * *

A couple of years ago, I wrote a book about the

storytellers of Morocco, collecting more than 30 tales in

the process. When I read some of them aloud to one of my

friends children, these stories came alive in a way that I

had not expected. The gurgles and shrieks of delight from

the bunk beds encouraged me to put more into the

performance. It was like the relationship between an actor

and his audience, each emboldening the other in a virtuous

circle. My own daughter is only four, and for the past few

years I have read to her almost every night. Beneath theduvet, a wide-eyed face hangs on every word, correcting me

if I have the audacity, incompetence or sheer laziness to

miss anything.

Why do we love stories? And why do we love hearing them

spoken aloud, in person? Psychologists and literary

scholars have devoted a good deal of thought to the first

question. Perhaps, they suggest, fiction helped mankind to

evolve social mores. In a 2008 study by the psychologist

Markus Appel, professor at the University of Koblenz-Landau

in Germany, people who watched drama and comedy on TV as

opposed to news had substantially stronger beliefs in a

just world. Stories do this by constantly marinating our

brains in poetic justice, according to Jonathan

Gottschall, author of The Storytelling Animal (2012). On

the other hand, perhaps storytelling is a sort of flight

simulator that allows us to practise something without

getting hurt. Keith Oatley, professor of psychology at the

University of Toronto, believes that stories are an ancient

virtual reality technology: we get to imagine what it would

be like to confront a dangerous man or seduce someone

elses spouse without suffering the consequences.


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HAMILTON/TELL ME A STORY/3

SECOND PART

When the king comes home and releases the prime minister,

he turns to ask:

How was your time in jail?

Its good, the prime minister replies.

How can prison be good? the king asks, amazed.

Well, the prime minister replies, if you had taken

me on your voyage, you would have escaped but I would have

been sacrificed.

Every time I read this story it takes on a different

meaning, like a gemstone held up to the light fromdifferent angles. At first I simply thought it was funny.

Then I decided its message was that things will work out

for the best, even if it does not always seem so. But my

translator told me that the story is really about sacrifice

and refers to the tale of Abraham and Isaac. A Jewish

friend said she had heard the same story from her Rabbi and

someone else said they had come across it in Buddhist

thought. The prime minister also belongs to a long line of

comic characters, or wise fools. In Afghanistan he is

called Nasruddin. I recently came across this quote from

the 13th-century Sufi poet Jalaluddin Rumi, which seems to

sum it all up: From the point of view of man, a thing may

appear to be good or evil. But from the point of view of

God, everything is good.

THIRD PART

Abderrahim rarely performs in the main square any more. I

asked him why and he gazed at a point in the distance.

Look, there is no room and it is too noisy. Nowadays, he

said, Moroccans would rather watch DVDs or use the internet

than listen to him. Modernity and electronic media in


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particular is killing the storyteller. When electricity

came, as they say in Ireland, the fairies flew out the

window.

Bruchac warns that we ignore the power of oral

narration at our peril: If we imagine that technology can

take the place of the living human presence experienced

through oral tradition, then we diminish ourselves and

forget the true power of stories.

But maybe, just maybe, some are fighting back. In

France, for example, the original troubadours died out in

the 14th century. But there are now around 200 storytelling

festivals every year, according to one of the countrys

most prominent performers, Abbi Patrix. In Britain, we

cannot boast of such a revival, but the success of events

such as Pin Drop suggests our hunger for stories is

undiminished. The raw power of that extraordinary and

immediate presence is always there to be discovered once

again.

Richard Hamilton is a broadcast journalist for the BBC

World Service, and the co-author of the Time Out Guide toMarrakech. His latest book is The Last Storytellers (2011).

He lives in London.

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