Quantifiable Living: Story-within-a-story/Paul Auster scale

Item: Story within a story (oral or written)


Unit of measure: Paul Austers (PA)


How It Works: This scale measures the levels of storytelling going on in any given storytelling experience. Each Paul Auster is equal to two stories, with one embedded in the other. If a person tells you a total of four stories within the aegis of one main storytelling experience -- that is, before they have reached the final purpose of the initial storytelling -- with each embedded in the last, for instance, that would be 2 PA.

This scale is especially useful when dealing with older people like Grandpa Simpson (or real-life equivalent), or younger people who tend to ramble, but it should not be applied too liberally. The stories that qualify for the "Story-within-a-story/Paul Auster scale" should be relatively high-quality; should have an identifiable beginning, middle and end, even if they're not as fully developed as they could be; should give the listener a sense both of the interconnectedness of life and the ultimate inability to articulate one's "real truth" or "real self"; should cause one to question whether the story has any ultimate or practical meaning; should leave one with a haunting sense that one has missed something essential in listening, something that could prove the key to the whole story if only the listener had caught it.

These criteria may be met by the quality and content of the story itself (stories themselves), or by the listener's respectful and listening attitude toward the stories, such that the listener's attitude adds gravitas and reflection to stories that may not demand it. Where there is no respect, however, there cannot be a PA correlation, as all stories tend to blend together and create a different experience related more to sheer length of talking rather than story embeddedness.


Examples:

Someone tells you a story about going to the store and finding a penny on the way, diverging into a parallel story about how he used to collect coins when he was young and trusted the government: 1 PA

The same storyteller augments the penny-finding and collecting story with scenes from his stint in Vietnam, adding the perspective of a young Vietnamese girl who causes him to ultimately question the government's motives and reason for being there: 2 PA

You hear a story about a woman who met her husband when he came from the fire department to rescue her cat from a tree, and you hear how she came to get the cat, the story of the previous owner of the cat's mother who had hung herself from a tree for unrequited love, and also the content of the short story she was writing at the time, which had a flashback in it: 3 PA


Limits: A story followed by another story does not meet the criteria for the story-within-a-story/Paul Auster scale. That would be a story cycle, or a series of stories, which can be measured by normal means: i.e., "one story," "two stories," "fifteen stories in a row," etc.


Elaborations: The borderline exception to this provision is if, at the end of the series of stories, the listener realizes that all the stories were actually interconnected in ways that became clear only through listening. In this case, either the usual method of story-counting (i.e. "five stories in a row") with an addendum of explanation (i.e. "and it turned out that all the people met each other at a party in the end") may be used, or the PA unit of measure may be applied, though carefully.

For instance, in the case of a series of five stories, all of which end up being the background of five people who show up at the same party, the PA measure is only 1, since the five stories are all embedded in the same overarching storyline, rather than being embedded in each other. Thus, the situation warrants the description "6 stories, 1 PA," indicating that there are six storylines (including the story of the party), with one of those being the frame and the other five being independent of all but the frame/overarching storyline.

More sophisticated methods of determining the relation between embedded stories and serial stories are in development.