Music Monday: The Call

Music Monday!

Music can be a great source of comfort and inspiration when you’re feeling down.

Today’s song is: “the Call” by Regina Spektor

Listen to the song here (OR just watch Prince Caspian):

Oh… you prefer LIVE.  Well, here ya go then:

Lyrics:

“It started out as a feeling
Which then grew into a hope
Which then turned into a quiet thought
Which then turned into a quiet word
And then that word grew louder and louder
‘Til it was a battle cry
I’ll come back when you call me
No need to say goodbye

Just because everything’s changing
Doesn’t mean it’s never been this way before
All you can do is try to know who your friends are
As you head off to the war
Pick a star on the dark horizon and follow the light
You’ll come back when it’s over
No need to say goodbye
You’ll come back when it’s over
No need to say goodbye

Now we’re back to the beginning
It’s just a feeling and no one knows yet
But just because they can’t feel it too
Doesn’t mean that you have to forget
Let your memories grow stronger and stronger
‘Til they’re before your eyes
You’ll come back when they call you
No need to say goodbye
You’ll come back when they call you
No need to say goodbye”

Why this song’s so cool: It’s soooooo pwetty!

Why this song’s helpful: It’s chock-a-block FULL of inspirey messages and allusions.

Those who leave you never really leave you.

“Just because everything’s changing doesn’t mean it’s never been this way before.” YOU CAN DO IT! You will get through this. This too shall pass.

The war is your challenges and obstacles.  And you’ll come back to yourself and who you truly are once you’ve weathered the storm.

Follow the light.

A reminder that what is important to you may not be important to everyone but that’s okay.

What is the use of stories that aren’t even true?

What IS the use of stories that aren’t even true?


The oft-asked question in Salman Rushdie’s Haroun and the Sea of Stories is, “What is the use of stories that aren’t even true?”

While Rushdie’s book is described as an example of a more comical and light subdivision of the fantasy genre, each form of fantasy contains within it a variety of aspects that resonate within additional fantastical categories. Rushdie’s question can be applied to and answered through any genre of fantasy.

There is truth in every fictional story, and the uses of fictional stories, while dependent to some extent upon author intent and reader response, are, in fact, infinite.

If fictional stories had no use, why would anyone write fiction or fantasy? 

Storytellers may not be aware of their subtexts, attitudes, or perspectives about the purpose or benefit of their words and stories, but that does not mean they are not present.  While ideas about use may vary and differ, each author must believe that their storytelling will be put to some use or another.  These uses are often subjective, multifaceted, and numerous.  Just as an author may communicate many different ideas, meanings, and uses, readers may also interpret or superimpose many different ideas, meanings, and uses.  C.S. Lewis communicated tenants of Christian theology through many of his works, but he also reiterated the use of fantasy as a way for readers to address real-life issues, through a fantasy world to explore “emotional dilemmas (they) feel faced by in their everyday lives” (Rustin, 1987, p. 40).  The Lion, the Witch, and the Wardrobe is clearly representative of the important use of fantasy as a tool to address cultural, societal, emotional, and psychological needs, understanding, and development – a prevalent perspective about fantasy’s value and use.

The primary, overarching importance of the use of children’s fantasy literature is the idea that the genre addresses and fulfills vital “psychological, cultural and aesthetic needs which are disregarded by most other forms of contemporary literature” (Oziewicz, 2008, p. 66). 

Fantasy allows the fears and worries of society to be addressed and explored, as well as providing a great deal of “potential as an emotional survival strategy” (Bharat, 2015, p. 305).  In addition, “stories can be a cohesive force in constructing a community” (Mukherjee, 1998, p. 175), a force that allows communities to overcome obstacles and experience positive growth and development.  Lloyd Alexander’s “The Grammar of Story” emphasizes this importance by detailing the ways in which words and storytelling can work magic.  Rushdie’s narrative in Haroun and the Sea of Stories provides valuable political and cultural implications about the intrinsic value and power of words and stories. This is just one narrative that articulates the importance of stories and storytelling and the ways in which they can be applied to resisting terror and oppression by conquering fears through living life instead of through grand, cosmic acts of courage.

Through the creation of a fantasy narrative such as this, an author can invent their own logic and use and incorporated it into each aspect of the story, so it has a sturdy base: “We don’t dig the foundation after the house is built” (Alexander, 1981, p. 10), and the fantasy world must have “identifiable and workable laws underpinning it” (Yolen, 1996, p. 173).  While each work of fantasy is unique, they are all bonded by their structure and interconnected in their capacity to encourage imaginative exploration and address very real concepts, dilemmas, and threats, such as the “tyranny of fear” (Bharat, 2015, p. 304).  New fears are constantly arising, and all types of fantasy literature can help to confront and explore these fears through large societal battles of terrorism and oppression as well as smaller, but no less important, battles of personal conflict, growth, and development.

Conflict is the dynamic element of any story, and the fate of the world can be affected by cosmic, mythopoeic quest and conflict as well as by the conflict-response behavior of a single person, as revealed through interactions with themselves, others, and the world around them.

While each fantasy story may be categorized according to a general consensus of its overall purpose, use, or tone, each fantasy story is an amalgam of diverse components that draw on a variety of ideas about the truth of untrue stories.  “What is the use of stories that aren’t even true?”  The use of Rushdie’s Haroun and the Sea of Stories is to answer this very question, and in many ways, this is the use of every work of fantasy literature.  Storytellers create illusions, and the truth in that illusion is “how thoroughly it convinces us of its reality; how strongly it resonates in our emotions; how deeply it moves us to new feelings and new insights.” (Alexander, 1981, p. 4).

Truth is not always convincing, and a fantasy story can help a reader to recognize and understand the truth in the world around them.

‘Untrue’ fantasy stories are incredibly valuable in an infinite number of ways.  Each fantasy genre, and each fantasy story, has unique and distinctive qualities.  In mythopoeic fantasy, adventure has momentous scale and consequences. However, while lighter fantasy genres may seem to lack cosmic battles of good versus evil, the adventures and battles still have consequences that are momentous to the characters experiencing them.

While mythopoeic fantasy suggests big answers to big questions, small answers to small questions are just as substantially cosmic to those affected by them.

A child can have an adult adventure that articulates hope for all humanity by the simple act of articulating the hope of one human. 

One human is a part of humanity, and the truth is that one child can change the world.


References

Alexander, Lloyd. (1981). The grammar of story. In Betsy Hearne and Marilyn Kaye (Eds), Celebrating children’s books: Essays on children’s literature in honor of Zena Sutherland. (pp. 3-13). New York: Lothrop, Lee, and Shepard Books.

Bharat, Meenakshi. (2015). Creative fear in Salman Rushdie’s Haroun and Luka: The ‘safe house’ of children’s literature. In Marvels & tales. (pp. 304-323).

Lewis, C.S. (1950). The lion, the witch, and the wardrobe. New York: Harper Collins.

Mukherjee, Meenakshi. (1998). Politics and children’s literature: a Reading of Haroun and the Sea of Stories. In Ariel: a Review of international English literature. (pp. 163-177).

Oziewicz, Marek. (2008). One earth, one people: The Mythopoeic fantasy series of Ursula K. Le Guin, Lloyd Alexander, Madeline L’Engle, and Orson Scott Card. New York: Simon Pulse.

Rowling, J.K. (1999). Harry Potter and the Prisoner of Azkaban. New York: Scholastic.

Rushdie, Salman. (1990). Haroun and the sea of stories. New York: Penguin.

Rustin, Margaret and Michael. (1987). Narnia: an Imaginary land as container for moral and emotional adventure. In Narratives of love and loss: Studies in modern children’s fiction. (pp. 40-58). New York: Verso.

Strimel, Courtney B. (2004). The politics of terror: Rereading Harry Potter,” In Children’s literature in education. (pp. 35-52).

Yolen, Jane. (1996). Turtles all the way down. In Sheila Egoff et al. (Eds) Only connect: Readings on children’s literature. (pp. 164-174). New York: Oxford University Press.

Music Monday: The Fighter – Gym Class Heroes

Music Monday!

Music can be a great source of comfort and inspiration when you’re feeling down.

Today’s song is: “The Fighter” by Gym Class Heroes

Listen to the song here:

Lyrics:

“Just waking up in the morning
And the be well
Quite honest with ya,
I ain’t really sleep well
Ya ever feel like your train of thought’s been derailed?
That’s when you press on Lee nails
Half the population’s just waitin’ to see me fail
Yeah right, you’re better off trying to freeze hell
Some of us do it for the females
And others do it for the retails

But I do it for the kids, life through the tower head on
Every time you fall it’s only making your chin strong

And I be in the corner like mick, baby, til the end
Or when you hear this song from that big lady
Until the referee rings the bell
Until both your eyes start to swell
Until the crowd goes home
What we gonna do y’all?
Give ’em hell, turn their heads
Gonna live life till we’re dead.
Give me scars, give me pain
Then just say to me, say to me, say to me
There goes a fighter, there goes a fighter
Here comes a fighter
That’s what they’ll say to me, say to me
Say to me, this one’s a fighter
And if I can last thirty rounds
There’s no reason you should ever have your head down
Six foot five, two hundred and twenty pounds
Hailing from rock bottom, Loserville, nothing town
Textbook version of the kid going nowhere fast
And now I’m yelling kiss my a**
It’s gonna take a couple right hooks, a few left jabs
For you to recognize that you really ain’t got it bad
Until the referee rings the bell
Until both your eyes start to swell
Until the crowd goes home
What we gonna do y’all?
Give ’em hell, turn their heads
Gonna live life til we’re dead
Give me scars, give me pain
Then just say to me, say to me, say to me
There goes a fighter, there goes a fighter
Here comes a fighter
That’s what they’ll say to me, say to me
Say to me, this one’s a fighter
Everybody put yo hands up
What we gonna do?
What we gonna do?
What we gonna do?
What we gonna do?
What we gonna do?
What we gonna do?
What we gonna do?
Y’all
If you fall pick yourself up off the floor (get up)
And when your bones can’t take no more
Just remember what you’re here for
‘Cause I know I’ma damn sure
Give ’em hell, turn their heads
Gonna live life till we’re dead
Give me scars, give me pain
Then just say to me, say to me, say to me
There goes a fighter, there goes a fighter
Here comes a fighter
That’s what they’ll say to me, say to me
Say to me, this one’s a fighter
Till the referee rings the bell
Till both ya eyes start to swell
Till the crowd goes home
What we gonna do kid?”
Why this song’s so cool:  Catchy and fun to sing along with in any mood, the only part that bothers me is the lyric “And if I can last thirty rounds, there’s no reason you should ever have your head down.”  I get that it’s supposed to be inspirational, but the reality is that everybody’s battle is different and we are all fighting different things.  Just because one person can win a fight against something doesn’t mean another person can do the same – because every situation is different.  Just because I can do one thing, doesn’t mean that you are not a fighter if you can’t do something similar . . .  or even something different.

Why this song’s helpful: A great reminder to keep fighting. And  just a great conceptual idea to think about especially if you are battling something not visible or physical.  Picturing depression as something you can physically punch in the face can help you take steps towards beating it.  It’s  a visualization tool and can be a helpful method when dealing with whatever you may be struggling with.  Just because you can’t see a struggle doesn’t mean that it’s not there – and overlaying a more visible aspect can enable you to find your fighter’s strength and realize that your fight matters.

More about Gym Class Heroes Here:    http://gymclassheroes.com/