Næss, Arne. 2005. “Creativity and Gestalt Thinking.” In The Selected Works of Arne Næss, edited by Harold Glasser and Alan R. Drengson. The Netherlands: Springer. I came here after reading this one quote below and I am still trying to process the essay. Authors really give us strange, unusual perspectives which once we read seem so obvious. This essay is the kind that needs to be read again and again and would probably keep adding meaning to itself and for me as time passes. The introduction of a singular hero, however, replicates a very specific and historical power relation. The pioneers and the saviors: likely male, likely white, almost certainly brimming with unearned confidence. The veneration of the hero reduces others into victims: those who must be rescued. “The prototypical savior is a person who has been raised in privilege and taught implicitly or explicitly (or both) that they possess the answers and skills needed to rescue others,” writes Jordan Flaherty in his book No More Heroes. To be a hero is fundamentally privileged, and any act of heroism reinforces that privilege.

With a new introduction by Donna Haraway, the eminent cyberfeminist, author of the revolutionary A Cyborg Manifesto and most recently, Staying with the Trouble and Manifestly Haraway. Berman, Morris. 2000. Wandering God: A Study in Nomadic Spirituality. Albany, NY: State University of New York Press. Y lo que propone Le Guin es preguntarse por la historia de quien recolectaba las “semillas, raíces, brotes, tallos, hojas, nueces, vainas, frutos y granos, añadiendo insectos y moluscos junto a la captura de aves, peces, ratones, conejos y otros pequeños animales inofensivos para aumentar la cantidad de proteína (27)”, que constituían, dice, del sesenta y cinco al ochenta por ciento de lo que los seres humanos comían en ese periodo de la historia. Los verdaderos responsables de mantenerlos alimentados, bah! Y que más allá de consumirlos debían transportar los alimentos, y ahí entra en juego el recipiente, la bolsa. “Un libro guarda palabras. Las palabras guardan cosas. Portan significados. Una novela es un atado que mantiene las cosas en una relación particular y poderosa las unas con las otras y con nosotras (38)”.Donna J. Haraway is the author of the revolutionary 'Cyborg Manifesto' and Distinguished Professor Emerita in the History of Consciousness Department at the University of California, Santa Cruz, and the author of several books including most recently, Staying with the Trouble and Manifestly Haraway. It matters what stories we tell to tell other stories with; it matters what concepts we think to think other concepts with. ’ (Haraway 2019:10) Haraway, Donna J. 1997. “enlightenment@science_wars.com: A Personal Reflection on Love and War.” Social Text 15(1): 123–129. doi: 10.2307/466820. Braidotti, Rosi. 2011. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. 2nd ed. New York, NY: Columbia University Press. The novel is a fundamentally unheroic kind of story. Of course the Hero has frequently taken it over, that being his imperial nature and uncontrollable impulse, to take everything over and run it while making stern decrees and laws to control his uncontrollable impulse to kill it. So the Hero has decreed through his mouthpieces the Lawgivers, first, that the proper shape of the narrative is that of the arrow or spear, starting here and going straight there and THOK! hitting its mark (which drops dead); second, that the central concern of narrative, including the novel, is conflict; and third, that the story isn't any good if he isn't in it.

Este libro habla de los relatos no contados. De otra forma de contar relatos. Y no puedo evitar traer a cuenta algo que me pasa en relación al tema. Considero que no soy buena contando anécdotas, cuando era chica escuchaba a mi hermana contar a nuestros padres algo que ambas habíamos vívido y me sorprendía viviendo una nueva historia. ¿Eso pasó?, me preguntaba dudando de mi memoria. De adulta me sigue pasando lo mismo y muchas veces paso la palabra para que otro cuente la anécdota compartida porque, de seguro, va a ser más emocionante que si la cuento yo. Quizás sea eso lo que despertó mi interés por las historias que se cuentan, por el tratar de analizarlas, encontrar el mecanismo detrás. Y de eso va este libro, de encontrar la base del mecanismo de contar historias y proponer uno alternativo. “(…) busco la naturaleza, el sujeto, las palabras del otro relato, la historia no contada, la historia de la vida (36)”. Richardson, Laurel. 2001. “Getting Personal: Writing-Stories.” International Journal of Qualitative Studies in Education 14(1): 33–38. doi: 10.1080/09518390010007647. In The Carrier Bag Theory of Fiction, visionary author Ursula K. Le Guin retells the story of human origin by redefining technology as a cultural carrier bag rather than a weapon of domination.Bommer, Lawrence. 1992. “The Search for Signs of Intelligent Life in the Universe.” Review of May 14, 2015. Chicago Reader. December 17. http://www.chicagoreader.com/chicago/the-search-for-signs-of-intelligent-life-in-the-universe/Content?oid=881080 The session was organised into three stages. In the first stage, the students were asked to choose one of their objects and tell the group the story of how it related to their doctoral research or journey. In stage two they choose another object and wrote and then shared 30 words about how it was significant to them, and in the final stage, they wrote 3 words encapsulating the relevance of the last object. She explains that in perpetuating the tradition of telling stories in a linear way we miss out so much ‘stuff’, parts of the story that don’t fit the ordained narrative perhaps or aspects of ourselves or experiences that aren’t seen as relevant to the story we are writing. Gough, Noel. 1998. “Reflections and Diffractions: Functions of Fiction in Curriculum Inquiry.” In Curriculum: Toward New Identities, edited by William F. Pinar, 93–127. New York, NY: Garland Publishing Inc. Paul, Anne Murphy. 2012. “Your Brain on Fiction.” The New York Times. Accessed March 20, 2015. http://www.nytimes.com/2012/03/18/opinion/sunday/the-neuroscience-of-your-brain-on-fiction.html.

Gough, Noel. 2010. “Performing Imaginative Inquiry: Narrative Experiments and Rhizosemiotic Play.” In Imagination in Educational Theory and Practice: A Many-sided Vision, edited by Thomas William Nielsen, Rob Fitzgerald, and Mark Fettes, 42–60. Newcastle upon Tyne: Cambridge Scholars Publishing. Haraway, Donna J. 2014. “ SF: String Figures, Multispecies Muddles, Staying with the Trouble.” https://www.youtube.com/watch?v=Z1uTVnhIHS8.

Braidotti, Rosi. 2014. “Writing as a Nomadic Subject.” Comparative Critical Studies 11(2–3): 163–184. doi: 10.3366/ccs.2014.0122. Bailey, John. 1991. The Search for Signs of Inteligent Life in the Universe. Los Angeles, CA: Orion Classics. I wanted to find a way to help doctoral students tap into the creativity and uniqueness they bring to their research and I found a short book by the novelist Ursula Le Guin in which she presents her ‘Carrier Bag Theory of Fiction’ (2019) as a fresh and potentially useful way of thinking about doctoral writing. The novel is a fundamentally unheroic kind of story. Of course the Hero has frequently taken it over, that being his imperial nature and uncontrollable impulse, to take everything over and run it while making stern decrees and laws to control his uncontrollable impulse to kill it."