Ali Rad's Blog - Posts Tagged "love-in-crisis"
The Storyology of Love in Crisis: Why I Wrote Beyond Entertainment
I thank every reader who has engaged with Love in Crisis and shared their impressions. Each response, whether warm or critical, matters to me because it shows that the story has touched a thought.
For me, story is not merely art or entertainment—it is the engineering of thought. Through story, we practice measured dialogue, trace historical roots, teach with greater impact, draw from the depth of myths, and expand language to carry culture with more precision and reach. Story can even help prevent or heal psychological harm.
The Architecture of a New Story
Love in Crisis was written to carry history, politics, war, science, education, family, and love into story, so that these lived truths are not forgotten, and the future may learn from the past. I believe the value of art is not determined solely by the creator, but through the reader who, informed by the author’s vision, undertakes a new act of creation.
The novel is engineered with several layered techniques to enhance its metaphorical depth and actively engage the reader's intellect:
Contemplative Structure: The chapter titles follow the complete English alphabet. Chapter openings are nearly all centred on light (symbolizing insight), and the first sentence of each chapter serves as a summary of the core idea.
The Reader’s Maze: The complex narrative places the reader in an educational and recreational "maze," including intentional empty spaces for the reader to pause, think, and find their own meaning. This strong cognitive stimulation encourages a deeper connection, enabling the reader to grasp the second and third thematic layers.
Pacing: The "Time Station" Approach
The protagonist, Abraham, travels across turbulent decades, which has led some to compare the book to Forrest Gump. I also find similarities with the unique observational style of Jacques Tati’s film, Playtime.
Instead of rushing past experiences, the novel employs a “Time Station” approach. This invites the reader to sit and reflect on historical patterns and events, rather than merely speeding by them. This deliberate, contemplative structure distinguishes “Tale” from “Story,” inviting readers to engage with the deeper cultural and historical tapestry.
Storyology: Fiction Beyond Non-Fiction
In my view, fiction is not beside non-fiction but far beyond it. A true story is an architecture: a carefully engineered design where memory, imagination, and human experience meet.
This conviction is why I founded the Mihr Story Foundation and its School of Story—to remind educators of the fundamental role of story in learning. The Sci-Storic Club is meant to help scientists shape their work into story, so that the hardest ideas in any field become more widely understood and applied.
This experimental approach underpins the introduction of “Storyology,” a term I propose to recognize the story as a separate but elevated form beyond the tale. Story, as I view it, carries the ancient mission of myths and fables: to preserve culture, connect divided human experiences, and bridge East and West. I especially recommend this book to those who think deeply about storyology and the craft of storytelling.
For me, story is not merely art or entertainment—it is the engineering of thought. Through story, we practice measured dialogue, trace historical roots, teach with greater impact, draw from the depth of myths, and expand language to carry culture with more precision and reach. Story can even help prevent or heal psychological harm.
The Architecture of a New Story
Love in Crisis was written to carry history, politics, war, science, education, family, and love into story, so that these lived truths are not forgotten, and the future may learn from the past. I believe the value of art is not determined solely by the creator, but through the reader who, informed by the author’s vision, undertakes a new act of creation.
The novel is engineered with several layered techniques to enhance its metaphorical depth and actively engage the reader's intellect:
Contemplative Structure: The chapter titles follow the complete English alphabet. Chapter openings are nearly all centred on light (symbolizing insight), and the first sentence of each chapter serves as a summary of the core idea.
The Reader’s Maze: The complex narrative places the reader in an educational and recreational "maze," including intentional empty spaces for the reader to pause, think, and find their own meaning. This strong cognitive stimulation encourages a deeper connection, enabling the reader to grasp the second and third thematic layers.
Pacing: The "Time Station" Approach
The protagonist, Abraham, travels across turbulent decades, which has led some to compare the book to Forrest Gump. I also find similarities with the unique observational style of Jacques Tati’s film, Playtime.
Instead of rushing past experiences, the novel employs a “Time Station” approach. This invites the reader to sit and reflect on historical patterns and events, rather than merely speeding by them. This deliberate, contemplative structure distinguishes “Tale” from “Story,” inviting readers to engage with the deeper cultural and historical tapestry.
Storyology: Fiction Beyond Non-Fiction
In my view, fiction is not beside non-fiction but far beyond it. A true story is an architecture: a carefully engineered design where memory, imagination, and human experience meet.
This conviction is why I founded the Mihr Story Foundation and its School of Story—to remind educators of the fundamental role of story in learning. The Sci-Storic Club is meant to help scientists shape their work into story, so that the hardest ideas in any field become more widely understood and applied.
This experimental approach underpins the introduction of “Storyology,” a term I propose to recognize the story as a separate but elevated form beyond the tale. Story, as I view it, carries the ancient mission of myths and fables: to preserve culture, connect divided human experiences, and bridge East and West. I especially recommend this book to those who think deeply about storyology and the craft of storytelling.
