Chapter 9

I find Aristotle’s story map quite brilliant in its simplicity, I can see its applications in the most complex of stories coming from the most novice of DST learners.  The key is in the story arc, the rising and falling of the hero’s journey is clearly outlined so the basic of storytellers can follow.
  Gotta love the treasure map too, it’s free form range is quite fitting for the imaginative storyteller.  I like that the story can jump right into the conflict without having to lay much previous character context.  If the journey is found to be relatable and interesting by the viewer, the storyteller can play with their emotions all the way to the buried treasure.
The story spine is what I think I would use to introduce this learning style to my curriculum  advisors at my school.  This part of the book came at the perfect time because I’ve been thinking of how to best present this to my colleagues.  This story structure is a fitting way to show what DST is and how students can learn from it.

Chapter 10
The Native storytelling experience has never even crossed my mind throughout this reading and its introduction here has stuck me as vexing.   Not in a negative sense, but in a, what am I to do now sense.  I’m highly intrigued by the idea of Native stories being told in school, I just need, as Ohler repeats, to know what I don’t know.  I need further direction here.
Lastly, I found the stream of consciousness rhetoric useful in reminding me that I detest the quasi-existential droning’s of those seeking the “message” in their story’s interconnected emotional experience.  I have no problem with wanting to take stories to the “next level” but, I want students to learn grow and have fun with DST.  I’ve yet to read a fun Faulkner story.