Department of English

Faculty of Arts, Chulalongkorn University


 

Story of Your Life

(1998)

 

Ted Chiang

(1967 – )

 

Notes

"Story of Your Life" first appeared in the collection Starlight 2 in 1998.


112  Colonel Weber, I presume?: allusion to the famous greeting that Henry Morton Stanley gives David Livingstone: "Doctor Livingstone, I presume?" upon finding him in the town of Ujiji (now a part of Tanzania) after a lengthy search expedition


Stanley and Livingstone, dir. Henry King and Otto Brower (1939)
 

A supercut of the phrase being referenced in various performances
  • "Dr. Livingstone, I Presume?," QI: Quite Interesting
    ‘Dr Livingstone, I presume?’ is one of the most famous quotes in history and was supposedly uttered by the explorer Henry Morton Stanley in 1871 upon finding the missing missionary David Livingstone. However, the quote is now believed to have been invented by Stanley or his biographer. Stanley’s diary pages referring to the encounter were torn out and Livingstone’s account of the meeting doesn’t mention the phrase.
  • Leslie Dunkling, "Quotation Vocatives," A Dictionary of Epithets and Terms of Address (London: Routledge, 2006)
    Transferred vocatives are usually names. A person who expresses surprise at someone's deductive powers is told that it is 'Elementary, my dear Watson'. A meeting in certain circumstances inspires the use of 'Dr Livingstone, I presume'.
  • Andrew Delahunty and Sheila Dignen, "Stanley, Sir Henry Morton," A Dictionary of Reference and Allusion, 3rd ed. (Oxford: OUP, 2012): 341
    The Welsh explorer and journalist who, sent by the New York Herald, 'found' Dr Livingstone at Ujiji in 1871, and, according to the popular account, greeted him with the words 'Doctor Livingstone, I presume?'.
    ➢ Someone who eventually finds another after much searching
  • Eric Partridge, "Doctor Livingstone, I presume," A Dictionary of Catch Phrases British and American, from the Sixteenth Century to the Present Day, ed. Paul Beale (London: Routledge, 2003): 101
    is both a very famous quotation and a remarkably persistent catch phrase; the words were spoken in 1871 by Henry Morton, later Sir Henry, Stanley (1841–1904), when he, a journalist, at last came up with David Livingstone (1813–73) in Central Africa. Livingstone, physician, missionary, explorer, was thought to be lost
  • Martin Dugard, "Stanley Meets Livingstone," Smithsonian (2003)
    [...]
    What Stanley saw was a pale white man wearing a faded blue cap and patched clothing. The man’s hair was white, he had few teeth, and his beard was bushy. He walked, Stanley wrote, “with a firm and heavy tread.”

    Stanley stepped up crisply to the old man, removed his helmet and extended his hand. According to Stanley’s journal, it was November 10, 1871. With formal intonation, representing America but trying to affect British gravity, Stanley spoke, according to later accounts, the most dignified words that came to mind: “Dr. Livingstone, I presume?”

    “Yes,” Livingstone answered simply.

    “I thank God, doctor,” Stanley said, appalled at how fragile Livingstone looked, “I have been permitted to see you.”

    “I feel thankful,” Livingstone said with typical understatement, “I am here to welcome you.”




156  Borgesian fabulation: a story like those by the Argentine author Jorge Luis Borges

 


163  that famous optical illusion: the ambiguous figure often called the Boring figure after Edwin G. Boring who wrote about it in a psychology journal article in 1930.


wife-motherinlaw
Edwin G. Boring, "An Ambiguous Figure," The American Journal of Psychology 42.3 (1930): 444.
  • Edwin G. Boring, "A New Ambiguous Figure," The American Journal of Psychology 42.3 (1930): 444–45.
    The picture presented herewith is not strictly new. It was drawn by the well-known cartoonist, W. E. Hill, and reproduced in the issue of Puck for the week ending November 6, 1915. It is, however, relatively unknown to psy- [end of page 444] chologists, and seems to me to be the best of the puzzle-pictures in the sense that neither figure is favored over the other. [...] The present cut is from a pen-and-ink copy of Hill's published half-tone. I am indebted to Mrs. W. H. Hunt for the copy, which is, if anything, a little better for the psychologist's use than the original.
    This picture was originally published under the title "My Wife and My Mother-in-law." It shows in one figure the left profile of a young woman, three quarters from behind. The other figure is an old woman, three-quarters from in front. The ear of the 'wife' is the left eye of the 'mother-in-law'; the left eye-lash of the former is the right eye-lash of the latter; the jaw of the former is the nose of the latter; the neck-ribbon of the former, the mouth of the latter.







Story Notes


This story grew out of my interest in the variational principles of physics. I’ve found these principles fascinating ever since I first learned of them, but I didn’t know how to use them in a story until I saw a performance of Time Flies When You’re Alive, Paul Linke’s one-man show about his wife’s battle with [end of page 333] breast cancer. It occurred to me then that I might be able to use variational principles to tell a story about a person’s response to the inevitable. A few years later, that notion combined with a friend’s remark about her newborn baby to form the nucleus of this story.


For those interested in physics, I should note that the story’s discussion of Fermat’s Principle of Least Time omits all mention of its quantum-mechanical underpinnings. The QM formulation is interesting in its own way, but I preferred the metaphoric possibilities of the classical version.


As for this story’s theme, probably the most concise summation of it that I’ve seen appears in Kurt Vonnegut’s introduction to the 25th anniversary edition of Slaughterhouse-Five: ‘Stephen Hawking...found it tantalizing that we could not remember the future. But remembering the future is child’s play for me now. I know what will become of my helpless, trusting babies because they are grown-ups now. I know how my closest friends will end up because so many of them are retired or dead now...To Stephen Hawking and all others younger than myself I say, “Be patient. Your future will come to you and lie down at your feet like a dog who knows and loves you no matter what you are.”’


—Ted Chiang, "Story Notes," Stories of Your Life and Others, Picador, 2015, pp. 333–34.

 

Understand

My new language is taking shape. It is gestalt-oriented, rendering it beautifully suited for thought, but impractical for writing or speech. It wouldn't be transcribed in the form of words arranged linearly, but as a giant ideogram, to be absorbed as a whole. Such an ideogram could convey, more deliberately than a picture, what a thousand words cannot. The intricacy of each ideogram would be commensurate with the amount of information contained; I amuse myself with the notion of a colossal ideogram that describes the entire universe.

The printed page is too clumsy and static for this language; the only serviceable media would be video or holo, displaying a time-evolving graphic image. Speaking this language would be out of the question, given the limited bandwidth of the human larynx. (63)


—Ted Chiang, "Understand," 1991, Stories of Your Life and Others (London: Picador, 2015): 37–84.



 

 

Comprehension Check

  • What does the expression to ask the question or to pop the question usually mean? What is the question that "your father is about to ask me" (111)?
  • Why will the narrator and her child "never get that chance" of sharing the story of "the night you're conceived" (111)?
  • What does the phone call from "Mountain Rescue" suggest about how and where the daughter died (115)?
  • When Louise Banks describes her moose call as "Sends them running," who or what does "them" refer to (120)?
  • What does the daughter's declaration "'I get the feeling it’s going to be a scorcher. Good thing you’re dressed for it, Mom'" reveal about Louise Banks' outfit that date night (124)?

            

 


 

 

Study Questions

  • Why are the "alien devices" called "looking glasses" (116)?
  • How does Chiang approximate Heptapod B-like simultaneity in telling the story with English which is a sequential language?
  • How does the description of the heptapods' physical radial symmetry (117–8) relate to the later descriptions of their spoken and written language (ex. 127–29, 132, 137, 145–47)?
  • In the Arrival San Diego premiere hosted by the Arthur C. Clarke Center for Human Imagination Q and A session with Ted Chiang, he mentions several times the "emotional core" of the story that he hoped would survive adaptation into film (ex. at 20:30–21:20 min.). What do you think this emotional core of the story is?

            

   


 

Review Sheet

Characters

Louise Banks, the narrator "Right now your dad and I have been married for about two years" (111); "Louise Banks" (112); "with training in field linguistics" (114)
Gary Donnelly physicist (113); "easily identifiable as an academic: full beard and mustache, wearing corduroy" (112)
You "the scenario of your origin you'll suggest when you're twelve. 'The only reason you had me was so you could get a maid you wouldn't have to pay'" (111); "You'll be six when your father has a conference to attend in Hawaii" (133); "a grown woman taller than me and beautiful enough to make my heart ache" (135); "after graduation, you'll be heading for a job as a financial analyst" (135); "Your eyes will be blue like your dad's, not mud brown like mine [...] You will have many suitors" (144);
Colonel Weber "wore a military uniform and a crew cut, and carried an aluminum briefcase" (112)
Nelson "By then Nelson and I will have moved into our farmhouse" (112); "Nelson is ruggedly handsome, to your evident approval" (124)
Flapper "I dubbed them Flapper and Raspberry" (125)
Raspberry "Raspberry began mimicking Gary [...] while Flapper worked their computer" (126); "Raspberry left the room and returned with some kind of giant nut" (126)
 


 

Vocabulary


plot
conflict

setting

character; characterization
protagonist

point of view; perspective
internal

diction

pace

imagery

movement

trajectory 

metaphor

simile

symbol(s); symbolism; symbolic
irony; ironic
contrast

structure

frame(s); framing

relativism

internalization

essentialization

theme(s)

family
parenting; parent-child relationship

language

language learning

knowledge

memory; remembrance

expectation(s)

predestination
agency

free will

time; past; present; future

space

pain

grief

mourning

joy
love

life

death

alien; extraterrestrial life

alien invasion

science

the military

politics

communication

linguistics

language

thought
worldview

simultaneity

linearity; nonlinearity

chronology, chronological

pattern(s)

genre(s)

science fiction

speculative fiction

 



Sample Student Responses to Ted Chiang's "Story of Your Life"


Response 1::

 

 

 

 

 

Ticha Wanichtamrong

2202235 Reading and Analysis in the Study of English Literature

Acharn Puckpan Tipayamontri

April 23, 2016

Reading Response 3

 

Title

 

Text.

 

 

 

 

 

           


 


 

Reference

 

Links

 


Media
  • "Speculative Visions with Ted Chiang," Asian American Writers' Workshop (2016; 1 hr. 21:44 min.; Chiang reads new work; Q and A begins at 25:30)

  • "Arrival Premiere with Writer Ted Chiang," Arthur C. Clarke Center for Human Imagination (2016; 1 hr. 1:22 min.)

  • "Arrival Trailer," Paramount Pictures (2016; 2:25 min.)

 

 

Ted Chiang

 


Reference

Chiang, Ted. “Story of Your Life.” 1998. Stories of Your Life and Others, Picador, 2015, pp. 111–72.




Further Reading

Chiang, Ted. Stories of Your Life and Others. Picador, 2015.


Chiang, Ted, and Allora and Calzadilla. "The Great Silence." Fantasy and Science Fiction , vol. 130, no. 5/6, 2016, pp. 134–38.


Chiang, Ted. "The Truth of Fact, the Truth of Feeling." Subterranean Press Magazine (fall 2013).





 


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Last updated March 12, 2019