The Great Happiness Showdown Canada vs. USA

Obviously, time, space, and chances restrict the number of life stories we can hear. And you know, facts and viewpoints restrict even the personal stories we uncover. Readers of a literary work are more aware of the overlapping actions of the characters than the characters themselves, who "might be clueless about each other" (26), Benedict Anderson notes of the book as "a mad flex on the word'melda". Fiction readers are like mad woke, you know? They explore deep truths about what it means to observe human life and grow all-knowing and stuff.

They seem to be able to see things others from a limited viewpoint cannot. Get what I mean here? 

Although factual forms can evoke a similar feeling, Anderson contrasts a newspaper with "a novel whose author has like, abandoned any thought of a coherent plot" (33) - they are still based on actual events and partial knowledge. From epic to novel, tragedy to comedy, fictional narrative ain't gotta be tied to universe time no more, Ricoeur would say. This freedom lets fiction probe time vibrations not covered by historical accounts. Is it lit? (3: 128). Interdisciplinary critic Craig Ireland is quite dubious of theories of identity creation suggesting relational or experiential subjectivity as a universal mood for all people. Rather, he's contending that our identities are greatly shaped by the whole experience process. You know, this specific historical and socioeconomic setting explains everything. Develop of cultural modernism, family. The modern era is like to ignore all these rigorous time constraints and concentrate on unanticipated changes, you know? Embracing the unexpected and including it into our own narratives is everything; but, with a twist, do you hear me? (132) Ireland's studies give theories of relational identity development an interesting historical complexity, but you know there are still issues regarding how much cultural chronotopes can totally change experiences of time and self. Still, two main lessons show up from Ireland's work. 

First of all, it is not conceivable to separate cultural and personal chronotopes as well as cultural and personal identity. 

Like all the other ways we understand things, the feeling of time is always changing between how we do things and how society does things; society is shaped by time over which we have no influence. Though to be honest, it's impossible and useless to try to separate personal and social experiences, ya know? Though studying personal time matters can be quite eye-opening. Second, Ireland says you have to have a sense of time if you want to develop personally to grasp when events occur and how they shape your character. And the whole attitude of tying the present with the past and the future is, you know, completely about building the concept of narrative. Amazingly, Ireland is like "experience is totally the vibe that creates and comes from storytelling" (134), which is like a two-way connection quite similar to what Ricoeur says. It reminds us of the notion that time and narrative are like best friends and that this is not only true of New, Ireland, and Ricoeur. Time and stuff, you know, are all about narrative vibes? Among the ideas that help us to grasp time are sequence, duration, and consequence. When I say that a story is the best instrument for grasping time, do you feel what I mean? Like Ireland, Christopher Dewdney fervently believes in the link between temporal experience and identity, writing, "although we only really exist in the present, all of the experience that forms our identity comes from the past, which is why time and memory have such a personal relationship." 

Story and Temporality, Family

We cannot be ourselves unless we recall our former selves, you know? ("134"). Making memories feels generally like connecting several points in time—that is, like narrativity—you know? Thus, whether your identity is based on personal experience or mythological material, telling stories is essential in forming it. Don McKay's definition of memory as "the momentary domestication of time" (Deactivated 30) emphasizes, you know, how we must transform time into understandable stuff if we are to understand the world and ourselves. We can listen to the tales people share about their own life to better grasp how time operates not only for "the individual" in a conceptual sense but also for particular people. We can learn to be students of personal historiography, the personal taming of time. As Spike Millen's character Rudy Wiebe notes, "Yo, the Mad Trapper has a whole lifetime inside him, but he keeps it hidden from us" (129). Spreading the tea on someone's whole life calls for some storytelling.