The hero [of a narrative] must be male, regardless of the gender of the text-image, because the obstacle, whatever its personification, is morphologically female....The hero, the mythical subject, is constructed as human being and as male; he is the active principle of culture, the establisher of distinction, the creator of differences. Female is what is not susceptible to transformation, to life or death; she (it) is an element of plot-space, a topos, a resistance, matrix and matter."

The writers in Zimbabwe were also [like the characters in the literature they produced] basically men at the time.

'But why,' (some ask), 'why, if you have a serious comment to make on the real life of men, must you do it by talking about a phantasmagoric never-never land of your own?' Because, I take it, one of the main things the author wants to say is that the real life of men is of that mythical and heroic quality. One can see the principle at work in his characterization. Much that in a realistic work would be done by 'character delineation' is here done simply by making the character an elf, a dwarf, or a hobbit. The imagined beings have their insides on the outside; they are visible souls. And Man as a whole, Man pitted against the universe, have we seen him at all till we see that he is like a hero in a fairy tale?

All of the great mythologies and much of the mythic story-telling of the world are from the male point of view. When I was writing The Hero with a Thousand Faces and wanted to bring female heroes in, I had to go to the fairy tales. These were told by women to children, you know, and you get a different perspective. It was the men who got involved in spinning most of the great myths. The women were too busy; they had too damn much to do to sit around thinking about stories. [...]
In the Odyssey, you'll see three journeys. One is that of Telemachus, the son, going in quest of his father. The second is that of the father, Odysseus, becoming reconciled and related to the female principle in the sense of male-female relationship, rather than the male mastery of the female that was at the center of the Iliad. And the third is of Penelope herself, whose journey is [...] endurance. Out in Nantucket, you see all those cottages with the widow's walk up on the roof: when my husband comes back from the sea. Two journeys through space and one through time.

The great male writers of the European tradition, be it Proust, Tolstoy, Turgenev, deemed that those most inspiring to them existed in a white aristocracy…You read those books and you wouldn’t even know that people of colour existed in Europe. To each his own, and that was their choice. But I wanted to say: these lives, of women, and even of poor white people – these lives are worthy of literature. As Turgenev looked at the crumbling Russian empire, I look at these folks in a different crumbling empire and deemed that these are inspiring lives to an artist.

A central thesis then begins to emerge: man is in his actions and practice, as well as in his fictions, essentially a story-telling animal. He is not essentially, but becomes through his history, a teller of stories that aspire to truth. But the key question for men is not about their own authorship; I can only answer the question 'What am I to do?' if I can answer the prior question 'Of what story or stories do I find myself a part?' We enter human society, that is, with one or more imputed characters - roles into which we have been drafted - and we have to learn what they are in order to be able to understand how others respond to us and how our responses to them are apt to be construed. It is through hearing stories about wicked stepmothers, lost children, good but misguided kings, wolves that suckle twin boys, youngest sons who receive no inheritance but must make their own way in the world and eldest sons who waste their inheritance on riotous living and go into exile to live with the swine, that children learn or mislearn both what a child and what a parent is, what the cast of characters may be in the drama into which they have been born and what the ways of the world are. ...Mythology, in its original sense, is at the heart of things.

All great characters in stories are the ones who give their lives to something bigger than themselves. And in all of the stories I don't find anyone more noble than Jesus.

"The earliest storytellers were magi, seers, bards, griots, shamans. They were, it would seem, as old as time, and as terrifying to gaze upon as the mysteries with which they wrestled. They wrestled with mysteries and transformed them into myths which coded the world and helped the community to live through one more darkness, with eyes wide open and hearts set alight.

"I can see them now, the old masters. I can see them standing on the other side of the flames, speaking in the voices of lions, or thunder, or monsters, or heroes, heroines, or the earth, or fire itself — for they had to contain all voices within them, had to be all things and nothing. They had to have the ability to become lightning, to become a future homeland, to be the dreaded guide to the fabled land where the community will settle and fructify. They had to be able to fight in advance all the demons they would encounter, and summon up all the courage needed on the way, to prophesy about all the requisite qualities that would ensure their arrival at the dreamt-of land.

"The old masters had to be able to tell stories that would make sleep possible on those inhuman nights, stories that would counter terror with enchantment, or with a greater terror. I can see them, beyond the flames, telling of a hero's battle with a fabulous beast — the beast that is in the hero."

"The storyteller's art changed through the ages. From battling dread in word and incantations before their people did in reality, they became the repositories of the people's wisdom and follies. Often, conscripted by kings, they became the memory of a people's origins, and carried with them the long line of ancestries and lineages. Most important of all, they were the living libraries, the keepers of legends and lore. They knew the causes and mutations of things, the herbs, trees, plants, cures for diseases, causes for wars, causes of victory, the ways in which victory often precipitates defeat, or defeat victory, the lineages of gods,

The traditional male hero is about self-sacrifice, not self-actualization.

Unlike storybook heroes and heroines but like many actual heroes and heroines, she was something of a social outcast. (As Simone Weil noted, it was the people with irregular and embarrassing histories who were often the heroes of the Resistance in the Second World War; the proper middle-class people may have felt they had too much to lose.)

I think the best stories always end up being about the people rather than the event, which is to say character-driven.

For the male who dominates and writes, or by writing dominates, the woman has always been portrayed with hostility from the earliest times. Let us not be deceived by angelic descriptions of women. On the contrary, precisely because great literature is dominated by sweet, gentle creatures, the world of satire — which is that of the popular imagination — continually demonizes the woman, from antiquity, through the Middle Ages, and up to modern times.

Even as a kid, it wasn’t to big stories of heroism that I listened but to the everyday people on my block more than anything else. Since I thought of my father and mother as somewhat heroic in their early years, what interested me tremendously was how this whole other world of people living every day, how they lived their lives. I think most people are heroic to a degree, they’re heroic in caring for the lives of the people around them and not dumping each other or dumping on each other.

Early Sanskrit literature offers no conclusive evidence for preoccupation with skin color. More than that, some of the greatest Epic heroes and heroines such as Krshna, Draupadi, Arjuna, Nakula and (...) Damayanti are characterized as dark-skinned. Similarly, the famous cave-paintings of Ajanta depict a vast range of skin colors. But in none of these contexts do we find that darker skin color disqualifies a person from being considered good, beautiful, or heroic. Even more significant, in these and other passages in Sanskrit literature that characterize a person's skin color as dark, this characterization applies to individuals - we have no evidence of the classification of entire racial groups in terms of skin color.