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But perhaps we should be looking at other models in public affairs to encourage both "truth-speaking" and, ultimately, "truth-seeking" in order to move forward on contentious public issues.
They included clearing the backlog of genocide cases, truth-hearing and truth-speaking, achieving peace, retributive justice, healing, forgiveness, reconciliation and restorative justice.
Hence he believed that truth-seeking and truth-speaking needed more attention in the twentieth century.
As Gornick observes in her fascinating book The Situation and the Story: The Art of Personal Narrative (2001), "In nonfiction, the reader must believe that the narrator is speaking truth." As a memoirist herself, Gornick's challenge was to create this "truth-speaking persona," which she describes as a "narrator who was me and at the same time not me." She explains, "We pull from ourselves the narrator who will shape better than we alone can the inchoate flow of event[s] into which we are continually being plunged."
But the death of this vicious, hilarious, drug-fuelled, truth-speaking, bulls**t-hating genius is nonetheless a great shame.
The prophet's truth-speaking can make everyone quite uncomfortable, but its intention is to instigate conversion.
Steiner offers his list of the thieves of truth-speaking language: (1) the weight of classical loquacity, a logocentric system that organized spoken and written power relations without a self-revising structure; (2) limitless reproducibility (as in photography) that separated the veracity of words and images; (3) the decay of a theological, canonic world order that is linked to the performative efficacy of words; and (4), linked to this decay, the exponential advance in the natural sciences and technology.
Elliott Butler-Evans in Race, Gender and Desire (1989) argues that Bambara's short stories are aimed at "truth-speaking"--particularly as "truth is related to the semiotic mediation of Black existential modalities." At the same time, he sees a strange hierarchy of intent in this work: Bambara's commitments to representing "an organic Black community and the articulation of Black nationalist ideology" stand as primary for him, while her "insertion of themes related to the desires of Black women and girls," in his reading, "disrupts and often preempts the stories' primary focus on classic realism and nationalism" (92).