With the Universal Grammar of Story(R) comes a new mythopoetic writing theory providing for the technical demands of stories along with the philosophical and psycho-social needs of writers and their audiences. That stories have consequences drives this revival of an ancient writer-archetype: the cultural scout leading society along the uncharted edges of an increasingly dangerous social frontier. Embedded in a fascinating memoir from a most unusual life, Hazel Denhart synthesizes fields considered incompatible. Like Fritjof Capra's Uncommon Wisdom, Denhart's work also integrates the humanities, physics, and medicine in such a way as they have always belonged together. From this comes a testimonial guide that feels familiar yet bracingly new and imminently hopeful.

The Universal Grammar of Story(R) builds from four core parts.

First, "The Call to Write" introduces the idea of personal, social, and mythological drives calling creative artists (and their audiences) to stories. The personal call challenges us to tackle unfinished business in our own psychology through daydreaming stories. By contrast, the social call begs us to join in addressing generational struggles held in the collective unconscious-as the creative arts have done through history. Yet it is through the mythological call that we gather for moments of "shared reverence" in stories to exchange the pronoun "I" for "we" in fleeting moments of mystical experience. This section includes methods for writers to advance their emotional and intuitive forms of intelligence in order to respond to the call to write.

Part two takes on how to enhance our emotional and intuitive agility through the power of language with subtle changes in everyday speech and gesture. Here we discover how the simple act of switching between spoken and written forms of the same language can easily trigger writer's block. An entertaining review of the evolution of English from Anglo-Saxon to its many modern varieties reveals the surprising benefits of listening to unrecognizable forms.

Part three builds on the concrete, technical aspects of storytelling beginning with the logic of Aristotle and those likeminded mid-twentieth century pragmatists: Bernard Grebanier, Lajos Egri, and Syd Field. Character building, plot development, and timing reveal new terrain with the introduction of the "Hero-Villain Theory of Convergence," suggesting that villains/antiheros secretly hold the sacred role of removing the hero's façade to free the authentic soul beneath. As the hero's masque slips, comes a momentary flash where hero and villain become the same before transforming into new versions of each other. This section also introduces universal proportions of timing regardless of story types, genres, or lengths.

Part four turns to mythology with a critical look at the hero's journey according to Joseph Campbell with simple correctives ameliorating Campbell's stereotyping having grown out of step with contemporary sensibilities. Finally, a trip through Aldous Huxley's Perennial Philosophy brings the book back to its beginning with "practical" ideas for attracting mystical philosophy to a story.

Intriguing images in charcoal, ink, and pencil by artist Rick Denhart combine with profound and humorous stories from the author's unusual life adds to this grand theory's lively and entertaining feel. The Universal Grammar of Story(R) is a philosophical and technical wonder, accessible to the novice through clear and abundant examples while remaining challenging to advanced students and professionals with thought provoking scholarship. Peer reviewed and suitable for college text adoption.