The debate of determinism vs. free will has played wearily out down the centuries through religion, philosophy, and science. In the end, though, it's only by making the assumption that our choices count that we move forward in life, heal from adversity, and make a difference to our time.

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For a planetary mythology, a cycle of engaging and inspiring stories grown from the ground up, how might we hold such stories so they retain their vitality and viability? How might we set aside literalism, judgmentalism, and absolute belief? Part 2 of 2.

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According to Thomas Berry and many voices before his, we are between big stories that make sense of who we are and our place in the world. Perhaps what we need rather than one big story is a cycle of stories that show a way forward and give us realistic hope. What might such a cycle include? How might it help us reinterpret the lore and traditional teachings we still find valuable?

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Ever wonder why committees, task forces, regulations, procedures, and endless meetings never seem to bring lasting change? The missing ingredient is informal relationships. Hear some examples of how they bring about new results.

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Vibrations. Energies. Vortexes. Quantum yoga, consciousness, everything. How might we move beyond this sciency-sounding but vague language and come up with some that adequately expresses the subtlety of our direct experience?

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What would you make of an online space that is partly hopeful social media network, hub of creative community, source of uplifting news, and field for growing dreams? Enchantvale is based on the philosophy and practice of enchantivism: telling tales to move us out of exclusivity and division into hopeful new possibilities. Visit the landing page.

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Many of us are familiar with Jung's 8 psychological types (including the introvert and extravert orientations) and the Myers-Briggs. But where does imagination go? It can't belong mainly to the intuitive types. We all have it. But some of us focus it on the here and now ("heredreamers") and some focus on possibilities and patterns ("theredreamers"). A new axis of imagination added to typologies would help account for this.

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According to the conflict theory of fiction, as enforced by literary agents, publishers, and Hollywood, your story must feature a Hero or Heroine who runs into or is filled with conflict. In Hollywood, this usually means images of someone tough and earnest holding a gun or sword. Do good stories really require this, or, at least for psychological adults, should they rely instead on complex characters in tension and suspense?

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