Lost Storytellers

Community journalism in the era of clickbait An incisive and firsthand look at the landscape of community news today, Lost Storytellers argues that the decline of local journalism threatens the future of democracy. Award-winning photojournalist John Pendygraft asks: How did Americans lose trust in the media, and how can their local newsrooms earn it back? Pendygraft uses his own experiences at Florida’s largest newspaper, the Tampa Bay Times, to illustrate why trusted local reporting matters more than ever in the era of “fake news,” clickbait, conspiracy theories, and social media. Through interviews with his colleagues, the history of his own paper, journeys into the evolutionary psychology of storytelling, and examples of the ways multinational media conglomerates hook readers on news cycles of chaos and crisis, Pendygraft argues that community journalists can reclaim their roles as local storytellers—and that the public good demands that they try. Lost Storytellers offers insights for all who feel confused about the media, politics, and the well-being of their communities in the information age.

From Archibald MacLeish to David Sedaris, radio storytelling has long borrowed from the world of literature, yet the narrative radio work of well-known writers and others is a story that has not been told before. And when the literary aspects of specific programs such as The War of the Worlds or Sorry, Wrong Number were considered, scrutiny was superficial. In Lost Sound, Jeff Porter examines the vital interplay between acoustic techniques and modernist practices in the growth of radio. Concentrating on the 1930s through the 1970s, but also speaking to the rising popularity of today's narrative broadcasts such as This American Life, Radiolab, Serial, and The Organist, Porter's close readings of key radio programs show how writers adapted literary techniques to an acoustic medium with great effect. Addressing avant-garde sound poetry and experimental literature on the air, alongside industry policy and network economics, Porter identifies the ways radio challenged the conventional distinctions between highbrow and lowbrow cultural content to produce a dynamic popular culture.

'A powerful novel about the bond between fathers and daughters, and how stories connect us all. I loved it' Jenny Colgan THE LOST STORYTELLER is the heartwarming and evocative debut novel from a stunning new voice in fiction, Amanda Block. Perfect for fans of Ruth Hogan, Jessie Burton and Diane Setterfield. Rebecca hasn't seen her father Leo since she was six. Her family never talk about him, and she has long since pushed him firmly to the back of her mind. All she knows is that, once upon a time, he was a well-loved children's TV star. But when a journalist turns up uninvited at her office, asking questions about her once-famous father, Rebecca starts to wonder whether there is more to Leo's absence than she realised. Then, looking for answers, she unearths a book of fairy tales written by Leo and dedicated to her - but what use are children's stories to her now, all these years later? Tentatively, Rebecca tries to piece together her father's life, from the people he used to know and her own hazy memories. Yet her mind keeps returning to the magical, melancholic fairy tales, which seem to contain more truth than make-believe. Perhaps they are the key to unlocking the mystery of her father, the lost storyteller; to revealing who he was, what he went through - and even where he might be now... THE LOST STORYTELLER celebrates the power and resilience of imagination. 'Absolutely beautiful . . . A cleverly wrought tale of fathers and daughters, and a bond buried so deep that it is lost to folklore' Polly Crosby, author of The Illustrated Child 'Captivating, moving and profound. I loved it! A spellbinding novel about the power of the stories we tell both to ourselves and to others' Tracey Emerson, author of She Chose Me 'Incredibly moving . . . A genuinely beautiful must-read' Buki Papillon, author of An Ordinary Wonder

Alexander MacDonald guides us through his family’s mythic past as he recollects the heroic stories of his people: loggers, miners, drinkers, adventurers; men forever in exile, forever linked to their clan. There is the legendary patriarch who left the Scottish Highlands in 1779 and resettled in “the land of trees,” where his descendents became a separate Nova Scotia clan. There is the team of brothers and cousins, expert miners in demand around the world for their dangerous skills. And there is Alexander and his twin sister, who have left Cape Breton and prospered, yet are haunted by the past. Elegiac, hypnotic, by turns joyful and sad, No Great Mischief is a spellbinding story of family, loyalty, exile, and of the blood ties that bind us, generations later, to the land from which our ancestors came.

The #1 New York Times Bestseller * Named one of Variety's Best Music Books of 2021 * Included in Audible's Best of The Year list * A Business Insider Best Memoirs of 2021 * One of NME's Best Music Books of 2021 So, I've written a book. Having entertained the idea for years, and even offered a few questionable opportunities ("It's a piece of cake! Just do 4 hours of interviews, find someone else to write it, put your face on the cover, and voila!") I have decided to write these stories just as I have always done, in my own hand. The joy that I have felt from chronicling these tales is not unlike listening back to a song that I've recorded and can't wait to share with the world, or reading a primitive journal entry from a stained notebook, or even hearing my voice bounce between the Kiss posters on my wall as a child. This certainly doesn't mean that I'm quitting my day job, but it does give me a place to shed a little light on what it's like to be a kid from Springfield, Virginia, walking through life while living out the crazy dreams I had as young musician. From hitting the road with Scream at 18 years old, to my time in Nirvana and the Foo Fighters, jamming with Iggy Pop or playing at the Academy Awards or dancing with AC/DC and the Preservation Hall Jazz Band, drumming for Tom Petty or meeting Sir Paul McCartney at Royal Albert Hall, bedtime stories with Joan Jett or a chance meeting with Little Richard, to flying halfway around the world for one epic night with my daughters…the list goes on. I look forward to focusing the lens through which I see these memories a little sharper for you with much excitement.

These essays explore the reconception of the Gospels as first-century compositions of sound performed for audiences by storytellers rather than the anachronistic picture of a series of texts read by individual readers. The new paradigm implicit in these initial experiments is based on the recent realization that the majority of persons--85 to 95 percent--were illiterate and experienced the Jesus stories as members of audiences. Either from memory or from memorized manuscripts, the evangelists performed the Gospels as an evening's entertainment of two to four hours. The audiences were predominantly addressed as Hellenistic Judeans who lived in the aftermath of the Roman-Jewish war. When heard whole, the Gospels were vivid experiences of the central character of Jesus. These studies of audience address and the interactions between first-century storytellers and audiences reveal a dynamic performance literature that functioned as scripts for an ever-expanding network of storytelling proclamations whose envisioned horizon was the whole world. When the Gospels were told at one time from beginning to end, they invited the listeners to move from being peripherally interested or initially opposed to Jesus to identifying themselves as disciples of Jesus and believers in him as the Messiah.

Marrakech is the heart and lifeblood of Morocco's ancient storytelling tradition. For nearly a thousand years, storytellers have gathered in the Jemaa el Fna, the legendary square of the city, to recount ancient folktales and fables to rapt audiences. But this unique chain of oral tradition that has passed seamlessly from generation to generation is teetering on the brink of extinction. The competing distractions of television, movies and the internet have drawn the crowds away from the storytellers and few have the desire to learn the stories and continue their legacy. Richard Hamilton has witnessed at first hand the death throes of this rich and captivating tradition and, in the labyrinth of the Marrakech medina, has tracked down the last few remaining storytellers, recording stories that are replete with the mysteries and beauty of the Maghreb.

The prodigal son. The good Samaritan. A treasure hidden in a field. Most of us have heard these parables before. Yet if these oft-repeated stories strike us as merely sweet, heartwarming, or sentimental, we can be sure we've misread them. Jesus's parables are simultaneously working to conceal and reveal profound spiritual truths about God, humanity, the world, and the future—and we must learn to plumb their depths. A careful reading of the biblical text reveals the surprising ways in which such seemingly simple stories rebuke, subvert, and sabotage our sinful habits, perspectives, and priorities. Discarding the notion that Jesus's parables are nothing more than moralistic fables, Jared Wilson shows how each one is designed to drive us to Jesus in awe, need, faith, and worship.