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In recent years there has been a huge amount of both popular and academic interest in storytelling as something that is an essential part of not only literature and art but also our everyday lives as well as our dreams, fantasies, aspirations, historical self-understanding, and political actions. The question of the ethics of storytelling always, inevitably, lurks behind these discussions, though most frequently it remains implicit rather than explicit. This volume explores the ethical potential and risks of storytelling from an interdisciplinary perspective. It stages a dialogue between contemporary literature and visual arts across media (film, photography, performative arts), interdisciplinary theoretical perspectives (debates in narrative studies, trauma studies, cultural memory studies, ethical criticism), and history (traumatic histories of violence, cultural history). The collection analyses ethical issues involved in different strategies employed in literature and art to narrate experiences that resist telling and imagining, such as traumatic historical events, including war and political conflicts. The chapters explore the multiple ways in which the ethics of storytelling relates to the contemporary arts as they work with, draw on, and contribute to historical imagination. The book foregrounds the connection between remembering and imagining and explores the ambiguous role of narrative in the configuration of selves, communities, and the relation to the non-human. While discussing the ethical aspects of storytelling, it also reflects on the relevance of artistic storytelling practices for our understanding of ethics. Making an original contribution to interdisciplinary narrative studies and narrative ethics, this book both articulates a complex understanding of how artistic storytelling practices enable critical distance from culturally dominant narrative practices, and analyzes the limitations and potential pitfalls of storytelling.

By exploring our sense of the possible as a narratively mediated phenomenon, this essay brings possibility studies in dialogue with interdisciplinary narrative studies. It suggests that (1) the possible is entangled with actual life worlds that are heterogeneous spaces of possibility, (2) the possible is crucial to our temporal existence as being in the world with others, (3) narratives shape our sense of the possible, (4) possibility studies can contribute to strengthening our narrative agency, (5) narrative imagination has transformative power, (6) fiction can explore worlds as spaces of possibility, foster perspective awareness, and expand our sense of the possible, (7) the possible exists through processes of interpretation, and hence (narrative) hermeneutics is relevant to possibility studies, (8) our relationship to cultural models of sense-making is a possibility relationship, (9) possibility studies can bring to dialogue memory studies, futures studies and narrative studies, and (10) possibility studies should articulate and evaluate the ethico-political affordances and dangers of different discourses of the possible.

Abstract
This article proposes the concept of implicit narrative as an analytic tool that helps to articulate how cultural models of narrative sense-making steer us to certain patterns of experience, discourse, and interaction, and the concept of narrative agency as an analytic tool for theorizing and evaluating the processes in which we navigate our narrative environments, which consist of a range of implicit narratives. As a touchstone for developing these theoretical concepts, which serve not only narrative studies but also overlapping fields such as memory studies and cultural studies, the article analyzes the implicit cultural narrative that has most strongly dominated public discourse on the coronavirus pandemic: the narrative of war. Thereby, the article also contributes to the analysis of pandemic storytelling and its effects on us, as the cultural memory of the pandemic is currently taking shape and affecting our orientation to the future.

Argues that 'narrative hermeneutics' serves as a vitally important vehicle for addressing and redressing current social and political problems. Hanna Meretoja and Mark Freeman have gathered an interdisciplinary group of esteemed authors to explore how interpretation is relevant to the current discussions in narrative studies and to the broader debate that revolves around issues of truth, facts, and narrative. Addressing topics from the dangers of political narratives to questions of truth in medical and psychiatric practice, they emphasize that narrative is a cultural meaning-making practice that is integral to how we make sense of who we are and who we could be.

Abstract
In this article, we discuss a dialogue between narrative theory, reading group practices, and analysis of reading
group participants' experiences. Hanna Meretoja's theory of narrative agency has informed us in developing a new reading group
model that aims to enhance the participants' narrative agency, and, in turn, the analysis of the reading group experiences
provides us with new knowledge on the reading group model, as well as on the theoretical approach. We explore narrative agency
analysis as a tool to analyze interviews, and our analysis of three participants' experiences illustrates how narrative agency can
manifest itself in various forms. It also demonstrates that the enhanced ability to navigate narrative environments can be highly
meaningful on a personal level. The article suggests that, despite its challenges, this kind of research approach, combining
theory and practice, enriches and expands the possibilities of literary studies.