Archives for posts with tag: meaning of stories

Having moved so many times in my adult life, I’ve rarely had the chance to really connect with “my” doctors. Some make it easier than others. They are the ones who know how to listen, who want to know the context of whatever symptoms walk through the door. They want to know my story.

A doctor who stands out in my mind took a storytelling course from me through the University of Washington’s Experimental College. During introductions, he told us why he was talking the class.

Virtual Environmental Doctor

Virtual Environmental Doctor, from Wonderlane's Flickr photostream, seems an apt visual metaphor

He led Grand Rounds at the University of Washington Medical Center. He knew talking about symptoms and treatments was not enough. He wanted students to understand no one’s health deteriorates in isolation. His goal was to tell patients’ stories in a way that would teach diagnosis as an art, not just a skill. Judging from the stories he told during the course and his intense listening when others spoke, I’d say his students had a good chance of becoming better doctors thanks to his influence.

So I was keenly interested to find the story Dr. Jack Coulehan tells on the Alaskan LitSite. He writes about his internal medicine practice in a rundown neighbourhood in Pittsburgh in the 1970s. He was a young doctor, with a scraggly beard that amused his patients. “But the thing they found most strange about me was that I spent so much time listening to their stories.”

He goes on to describe his experience as a junior faculty member at the nearby university hospital. He writes, “When students tried to tell their patients’ stories during rounds, the resident would caution them to stick to the point.”

That attitude turned the people he knew into objects. They were transformed, like the self-educated, paraplegic teetotaler who was an expert on Pittsburgh history. The medical team labeled him an “alcoholic” because of his red nose and colorful vocabulary and sedated him into a “zombie who couldn’t think straight”.

Coulehan says that medical students receive mixed messages. They take classes that focus on narrative as the heart of medical practice, then enter hospitals where they are taught that stories “may actually obscure the problem” and where the technical fix and objective data overrule patients’ narratives.

In British Columbia a new program is trying to address this, by training volunteers to influence a health system that too often talks “about” rather than “with” them. Patient Voices Network has launched with a large and hopeful intention: “We expect that as experts in their own lives, patients can provide health system administrators and care providers with important information about [how] to best serve them and involve them in their own care as partners.”

One of the things volunteers have asked for is training in storytelling. They understand intuitively that change happens when we hear, understand, and honour each others’ stories. Perhaps through their influence there will be many more doctors like Dr. Coulehan and the doctor who came through my class many years ago.

[Have you had a doctor who really heard your stories? Taught physicians to tell stories? Share your experiences in the "comments" section below.]

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Stories matter. They matter so much we will cling to them even when they are no longer working, even when they are contrary to the evidence of our own eyes.

I’m thinking of a story, of course. In this case, it’s the story of two neighbours. The location is Rochester, New York. The time is the late 1970s and early 1980s.

On one side of the street lives a young couple. They have moved from Seattle, Washington, so the man can start his professorial career. The woman has come along, as women have done for generations.

University of Rochester

Leaves of Library Road, University of Rochester, from Carl M's Flickr Photostream

They don’t want to buy a second car so they look for a house near the university. They’re sure of his job. She’ll have to look for hers. So they opt for a neighbourhood within walking distance of his office.

They can see the houses were built by people who took pride in their work. In the basements are brass plaques with the names of the builders. Gumwood trim lines every room. Floors are oak; fittings are brass.

The neighbourhood is in a downward spiral. Once a solidly middle-class area, it has been emptied of people afraid of a mixed-race street. Some houses are boarded up. Most shelter families managing to make payments, mow the lawn, plant gardens, and welcome new people. Houses are affordable.

The young couple settles in. They meet the neighbours. They make payments, mow the lawn, plant a garden, and exchange friendly greetings. They invite new friends to dinner, polish the woodwork, read the New York Times and talk about how much they enjoy their new home.

Across the street lives another couple. They are in their 70s and have lived in their white-painted house for decades. They have watched the neighbourhood change. It is no longer homogenous. People have moved away. Some houses are boarded up.

Every day they read the local paper. They track every break-in, act of vandalism, and assault in the city. Although none of those happen on their street, they could.

They live in fear. Their neighbourhood is dangerous. They wish they could move, but property values are low. They don’t understand why the young couple feels safe, why they chose to live on this street.

Same street. Same neighbourhood. Different stories.

I know this is a true story because I was the young wife who uprooted from Seattle and found a job with the Rochester Public Library and then with the Greece School District. I was living in this house when I stumbled onto storytelling and became a life-long convert. But the neighbourhood I lived in was very different from my neighbours’ because they believed a different story.

Stories. They’re like colored glasses. They tint our view of the world. We must choose them carefully.

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When I read Hole in the Sky: A Memoir, I knew I had found an author who spoke the language of my spirit. So I looked for other books by William Kittredge. In Owning It All I found passage after passage that resonated for me. This is one of them. Fortunately, his books are still in print.

“We find stories in the unpatterned restlessness of our lives, and in the histories of the places we have lived, and we tell them and retell them, if only to ourselves, living them out and sharpening and reinventing them, discovering significances and defining and redefining ourselves. It is the most universal thing human beings do as in their secret hearts they work to achieve some positive effect in the world.” ~ William Kittredge, Owning It All

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“Storytelling, you know, has a real function. The process of the storytelling is itself a healing process, partly because you have someone there who is taking the time to tell you a story that has great meaning to them. They’re taking the time to do this because your life could use some help, but they don’t want to come over and just give advice. They want to give it to you in a form that becomes inseparable from your whole self. That’s what stories do. Stories differ from advice in that, once you get them, they become a fabric of your whole soul. That is why they heal you.” Alice Walker, in an interview about her work in Common Boundary, 1990.

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“There is no conclusion in science; it is a continual and recursive process of story testing.” ~ Paul Grobstein

Eggs Benedict. Boiled eggs. Fried, scrambled, poached, coddled eggs. Huevos rancheros, omelettes, eggnog. Just listing them makes me drool. Yellow and white killers in a crusty shell? Or nature’s little health miracle? It’s all in the science, and science is all in the story.

For many years, I worked with organizations and systems that worshiped at the feet of science. This was generally defined as peer-reviewed studies published in peer-reviewed journals. The “gold standard” was the randomized clinical trial.

The minor gods in service of the ideal were quantitative methods that produced numbers that could be compared, graphed, and used to substantiate or reject the need for some project, methodology or program.

Qualitative methods were suspect, dealing, as they did, with the messiness of human nature. Results were often dismissed as interesting but no more valid than an informed guess.

Of course, both quantitative and qualitative methods produce useful stories that summarize current knowledge. What neither produces is Truth, that shy and elusive deity who is sought but never found.

Basket of eggs

The humble and much-maligned egg from woodleywonderworks ' photostream on Flickr

Take, for example, the simple and much-maligned egg. After years during which eggs were dangerous to our health, scientists have exonerated the humble barnyard gifts.

During the egg-as-demon years, I had numerous disagreements with colleagues and friends who insisted research was objective. They viewed my refusal to give up eggs as an attack on the scientific method and an absurdly unhealthy choice.

What was really at work in my stubborn brain was the sense that research is based on stories, and stories change. I just waited them out and quietly went on eating eggs.

So I chuckled when I ran across an essay by Paul Grobstein, a neurobiologist, biologist, philosopher, and educator at Bryn Mawr. In “Science as story telling and story revising”, he writes, “the scientific method cannot validate universal claims; so scientific stories should never be regarded as candidates (or competitors) for ‘Truth’. And they are true only insofar as one is satisfied with the provisional, i.e., with a story that summarizes all observations made up to the present.”

I wish I had had a copy of Grobstein’s essay to hand out during my years in community development. Whatever methods we used, qualitative or quantitative, to evaluate the projects and programs in which I was involved, the best we could offer was a story.

The story was based on what we hoped would happen at the outset, mixed with what we observed along the way, and blended with what we learned as we reflected on the whole process. Into that mix we threw the stories of other researchers, evaluators, and participants who had contributed their observations, learnings, and reflections.

To be honest, I have to say that the people with whom I shared those stories over the years were very receptive. But it might have eased the worries of others, particularly those who were allies in the search for ongoing funding, if I could have shared Grobstein’s observation with them: “As summaries of observations, scientific stories are only as good as the breadth of observations they summarize, so the more people contributing observations the better. In addition to the observations, however, one needs the stories to summarize them, stories that in turn influence what new observations are made and what significance is attached to them….The more people, the more observations, the more stories the better.”

In the search for the Holy Grail of Truth, science’s latest stories are important. They are also incomplete, based, as they are, on current observations filtered through the lens of experience and belief the scientists brought to bear on their experimental methodology.

Maybe we should think of research findings and qualitative evaluations as interim truths. It would help us remember a quotation attributed to Albert Einstein:

Whoever undertakes to set himself up as a judge of Truth and Knowledge is shipwrecked by the laughter of the gods.

Grobstein, P. (2005). Revisiting science in culture: Science as story telling and story revising. Journal of Research Practice, 1(1), Article M1. Retrieved April 13, 2010, from http://jrp.icaap.org/index.php/jrp/article/view/9/18

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In the tale, in the telling, we are all one blood. Take the tale in your teeth, then, and bite till the blood runs, hoping it’s not poison; and we will all come to the end together, and even to the beginning: living, as we do, in the middle. ~Ursula Le Guin, Dancing at the Edge of the World

For two seasons I traveled the American school route in Germany and England, telling stories to military offspring. The principal approached me before a performance in one of the German schools. It was a tough group, he told me. “Better you than me,” he said, in a voice that intimated he was throwing me to the lions.

They filed in with all the chaos that accompanies a school on the edge of out-of-control. One boy in particular stood out. He slouched into the room with that boneless walk only a teenager can muster. Second row from the back, third seat in, he planted his lanky form. Feet stretched across the narrow aisle, arms crossed, face set, he sat poised to retaliate against the students who would inevitably graze him while trying to clamber over his legs.

He also set the tone for the next 45 minutes. Others would cast side glances his way, to see if it was acceptable to listen or if verbal tomatoes were called for. The first story had to work. Two minutes in, they would accept my offering or eat me for lunch.

Doing a last-minute set shuffle, I chose a short tale guaranteed to settle and center a middle-school audience. I don’t remember what it was now, only that the group was stretched tense as a rubber band aimed in my direction. The story worked. They didn’t fire.

Fish Face

So I told them a fish story to keep them still. (Fish Face from Andy Welsh's photostream on Flickr)

The second story had to keep them hooked, so I chose one that had never failed, “Tayzanne,” from Diane Wolkstein’s extraordinary collection of Haitian tales The Magic Orange Tree. There was nothing noble in the choice. The story is disturbing, haunting, dark enough to calm even a roomful of adolescents. I used it as a club, to dash any troublemakers into silence so I could finish the program and get out of there intact. I’m not proud of the motivation, but it worked.

The lanky boy sat forward and listened, to “Tayzanne” and every story that followed. His compatriots took their cue from him, and the session ended without mishap. I had no illusions that the group was transformed by the stories, but we had all survived without undue injury to their spirits or mine.

A year later I returned to the school. The students showed no recognition of the middle-aged woman who had spun tales for them the year before. Once again, the boy with long legs and attitude slouched in and posted his challenge across the aisle.

When I began the first story, he looked up, his eyes fixed and calculating. He leaned forward and stared. At the end of the story, he shouted, “You the lady that was here last year?”

“Yes,” I replied, expecting the worst.

“Tell that fish story,” he said.

“Yeah,” the others chimed in. “We’ve been talking about it for a year. We still don’t get it. We want to hear it again.”

It was the only story they wanted to hear, the only story they would allow me to tell. When it ended, they peppered me with questions I didn’t even try to answer. Instead, we shared the mystery, the possibilities, the strangeness of the tale and what it revealed about us and about the culture from which it comes.

I left that school with an exhilaration that returns to me as I write. The long-legged boy and his friends reminded me to love the questions. The answers are never clear. They change with each telling of a story, with each hearing of a tale. They change when the events of today mix with the experiences of yesterday.

I have learned to embrace the mystery. I have not found answers, which are as elusive now as when I first understood that the spiritual certainty of my childhood had cracked in the face of a growing appreciation for the questions.

I have learned to be comfortable living in the middle, biting life until the blood runs, knowing Ursula LeGuin was right. “In the tale, in the telling, we are all one blood.”

This essay first appeared in The Healing Heart: Communities as part of a longer piece, “Seven Lessons”.

Diane Wolkstein’s collection is still a favorite among storytellers:

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Michael Margolis posts a lot of good links on Facebook. Today’s was a blog entry from Derek Sivers, the founder of CD Baby.

In the September 1, 2009 entry on his blog, Sivers wrote about a talk by Kurt Vonnegut, who explained “why people have such a need for drama in their life”.

He blamed it on the stories we grow up with. Sivers quotes him as saying, “People have been hearing fantastic stories since time began. The problem is, they think life is supposed to be like the stories.”

That sent me to Google to see if I could track down Vonnegut’s original talk. Bingo. Found it on Lapham’s Quarterly.

Vonnegut drew a graph on a blackboard, what he called “the G-I axis: good fortune-ill fortune. Death and terrible poverty, sickness down here—great prosperity, wonderful health up here. Your average state of affairs here in the middle.”

Arthur Rackham's Cinderella

Arthur Rackham's Cinderella

He warned his audience people buy books and magazines or go to movies to hear stories that fit the rise and fall and ultimate rise of their expectations. Cinderella fits the graph. Hamlet doesn’t.

Vonnegut says we recognize Hamlet as a masterpiece because “Shakespeare told us the truth, and people so rarely tell us the truth…The truth is, we know so little about life, we don’t really know what the good news is and what the bad news is.”

It’s worth checking out the Vonnegut talk and contemplating his graphs in the context of the stories we tell, whether it’s around the kitchen table, in ads, on the nightly news, or to a paying audience.

The talk is vintage Vonnegut, provocative and ironic. Reading it made me ponder our hunger for the dramatic, for the rise and fall and ultimate rise. If we need evidence of that hunger, we have only to surf the channels on TV or scan the magazines while we’re waiting to pay for our groceries.

Would it be a different world if we were satisfied with the small ups and downs of ordinary life? Maybe, but it’s unlikely we’ll ever find out.

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Eye-catching logo for the Our Stories conference

Our Stories conference logo

Without a doubt, the best organizational storytelling conference I’ve ever participated in was the Our Stories conference in 2007. Sponsored by Vancouver (Canada) Coastal Health, it drew an enthusiastic audience of 230 health professionals.

The conference co-sponsors were AHIP, the Aboriginal Health Initiative Program, and the Sharon Martin Community Health Fund. AHIP’s co-sponsorship and the focus on storytelling were what attracted a large contingent of First Nations and Métis participants.

That added richness and depth. Roughly half the participants came from cultural traditions that honor stories and storytelling. Their presence gave non-indigenous attendees the freedom to set aside, at least for two days, some of their (and their bosses’) worries about whether or not a storytelling conference could be justified in fiscal and temporal terms.

Graphic notes

Session notes were recorded graphically

The intent of Our Stories was “to build community capacity by supporting all stakeholders to:

  • Explore how stories can be used in reporting, funding applications, and communications with others.
  • Brainstorm cost effective ways to integrate storytelling into current or planned projects and programs.
  • Explore the use of spoken word, art, photography, videography, popular theatre and more to capture stories of change.”

It isn’t possible to capture ambience. Nor can a Web site show the joy of sharing discoveries and enthusiasm with other conference participants. But the Our Stories Web site has plenty of discoveries, food for thought, and even delight. On it you’ll find videos of the plenary sessions, PDFs of the presentations (including brief notes for my own, in the Foundations section), exercises, and graphic-recording images.

Story graphic

This graphic wove through the conference

Aline LaFlamme, a Métis woman who emceed the conference, beautifully summarized why the conference had a profound impact on all of us who came. Scroll down this page of the Our Stories site to see the video of her closing remarks. [There's a photograph of this beautiful and accomplished woman here.]

I transcribed the excerpt below, but do watch the video, which is powerfully moving. [Scroll down to near the bottom of the page and click on the video link below "Closing Remarks by Aline LaFlamme, Conference MC.]

I can’t really say enough about the importance of what has happened here.
Since contact between the people of this land and European people,
people of this land have always, always, always tried to speak
about the importance of storytelling.

It’s the way people were taught
from generation to generation to generation.
It was an inherent part of community. …

And we know that rich way of being in the world
and of sharing and building relationship
and of building a sense of self
was often ignored and invalidated and trampled.

So our voices and our ways of using our voices
that include spirit and heart were largely cast aside.…

It’s very significant to me that a large funder
and many, many, many other funders
and many people from all four directions
have come together
because all of us come from rich storytelling traditions.
If we go back to when we were more connected
to the land of our ancestors,
all of us come from rich storytelling communities and nations.
All of us do.…

And so, we’ve lived in this industrial world for a long time,
and in this industrial world we’ve largely cast off
many of those aspects of ourselves,
and we’ve come to kind of worship the intellectual ability,
the ability to quantify everything,
and we lost so much in doing that.

And so to me there’s huge significance
and huge healing between us as people,
for the people of this land and all the people that have come,
to say storytelling has great importance,
storytelling is valid,
and we’re going to promote it,
and we’re going to include it.

It’s a huge healing.

When our dear one spoke about residential school earlier,
and I know how many of our relatives
had blocks of wood put in their mouths and tied there
so they could not have a voice,
when I come to a conference that’s about telling stories,
it’s really casting off those blocks of wood
and those rags that held the wood in place.…

And if we can connect back to those good traditions,
it means we can go forward,
and we can bring this forward
to our children and our grandchildren.…

~Aline LaFlamme

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[T]o make sense of our experience by creating a story is an essential human characteristic, and whatever story we tell at a given time reflects our level of consciousness. At one point we may tell a story of victimhood or revenge, and later one of compassion and empowerment. It is the exercise, moment to moment, of free will, of doggedly looking for beauty, joy, and possibility, that offers us the greatest hope for generating stories that will contain the creativity and inspiration we need to solve otherwise insurmountable challenges. ~ Nina Utne, UTNE Reader, May-June 2004, page 6

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When it comes to evaluating a project, the people who dreamed it into being are the ones who know it most intimately. In the non-profit world, that can mean people with limited or no experience in measuring outcomes are asked to reduce their work to something that can be slotted into a form. That’s a bit like describing a butterfly by naming its color and antennae.

Rebecca's Café in Port Fairy

Rebecca's Café in Port Fairy

What those at the grassroots level can do best, better than anyone coming in as an outside expert, is tell the project’s stories. They know the three women who dreamed of opening a bakery. They helped them with start-up loans and training. They were amazed when one of those women learned to read and write so she could handle the fledgling company’s paperwork. Literacy was not being funded and won’t be measured, but the story of that unanticipated outcome may end up being the most compelling reason for the micro-lending project to continue.

Conveying the significance of a project’s stories has always been a challenge. Fortunately, there is a tool: Most Significant Change, a technique that gives stories the credibility that allows them to stand alongside other evaluation tools.

The technique grew out of a problem. Back in 1996 Rick Davies was working on a micro-credit project in Bangladesh, and Jess Dart was working on a family systems project in India. The projects had to be evaluated, but they involved multiple community and individual approaches that had no indicators in common.

Anyone who has worked in the non-profit world understands the dilemma. Funders and project sponsors need data. They need graphs and charts. They need solid evidence their money and attention are making a difference.

What people at the community level need is an evaluation that takes more into account than statistics. They know the hopes with which they began. They see the roadblocks that sent them in a new direction. They understand when an outcome may seem modest to an outsider but represents a giant step in the community. Reducing everything to easily measured outcomes can miss the most important impacts of the project.

Faced with the challenge of evaluating complex projects, Dart and Davies came up with separate methodologies. By Jess’s admission, Rick’s was better. Most Significant Change was born.

Their initial trial was a success. Jess made it the focus of her PhD. The two of them went on to develop a guide, which can be downloaded free. Now the methodology is used around the world, not as a stand-alone approach but as a powerful addition.

And it is all based on stories.

To explore Most Significant Change:

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