(above) Dublin, Ireland near the River Liffey. Spring 2012. (left) Picture Two: Noticing the footprints. Ten Oxherding Pictures. Attributed to Shubun (n.d.) Japan, Muromachi period. Handscroll, ink and light colors on paper.

As journalist Glenn Greenwald wrote in his book No Place To Hide, Snowden claims he could have left no trace on the NSA’s network due to its lack of audit controls. But he said he instead left behind some “footprints” to show NSA investigators that he had acted alone and to prevent suspicion of his coworkers.
“Snowden: I Left the NSA Clues, But They Couldn’t Find Them,” Andy Greenberg, Wired Magazine (August 13, 2014)

I remember when it happened.  I was in Dublin, standing at an intersection near Temple Bar.  My hands were deep in my coat pockets; my body taut and clenched against the damp air.  The wind was coming off the Liffey and cut through my sweaters and hat and trench coat. This was not unseasonably cold, a local told me.  Dublin is like this all summer long.  Then I remembered how the Irish battled famine and damp to carve out a life on this stone in the Irish Sea and I watched the red faces of Irish workers in black coats and jeans trudge into the Liffey wind and I saw my own face there, with cheeks all flushed and soft and freckled.

That trip to Ireland began on a Friday in May 2012 when I purchased a deep-discount travel package to Dublin. I knew it was the right choice but I didn’t know why.  Two days into my trip I was walking along the freezing hem of the Liffey near the place where Westmoreland and D’Olier Streets merge at the O’Connell Bridge.  I had already been to Trinity College to view the Book of Kells and I had walked to 15 Usher’s Island to pay my respects to the site of Joyce’s “The Dead”.  I had eaten steak and Guinness pie for lunch and now I was waiting on the median at the foot of the bridge for the light to change, standing where some Irish artist embedded brass footprints in the concrete.  That’s where it happened.  That's the place where the door opened and light flooded in and I knew: 
This is the story of e. 
The crosswalk light then changed to green and I walked on to the bridge over the Liffey . . .





(above) Scheherazade. Sophie Anderson. c. 19th Century. The New Art Gallery, Walsall UK. (below) Scheherazade, illustration from Arabian Nights. Edmund Dulac. 1907. 

There is no greater agony than bearing an untold story inside you.
Maya Angelou (b. 1928), American poet

In 2003, I moved to New York City to attend graduate school in psychology at New York University. It was my time at NYU and most particularly an independent study in the final year that was a watershed for my life. The independent study focused on the connections between gender bias, narrative and the emergence of the Self. That study reshaped my identity as a woman and as an artist. It also inspired a self-narrative paradigm which I named the Scheherazade Model, after the famous Arabian storyteller of the same name, who told stories to save not only her own life but the lives of other women.

In 2006 I launched a web site, The Scheherazade Project. The goal was to have a place that I could have a voice, explore the narrative work I began at NYU and, quite simply, begin my writing life. Over that first year, I wrote about the three prongs of the Scheherazade Model: mythology of self, mythology of other and mythology of planet.

This paradigm emphasizes the elevation of feminine values. Feminine values, also known as intrinsic values, focus on the importance of community and harmony, as opposed to masculine values which center on the elevation of the individual and the mastery of the environment.



The way we tell our stories directly affects the way we live our lives. And our storytelling is largely based on the monomyth, also known as the hero's journey. The monomyth has several distinguishing characteristics. It centers around an individual who is almost always male. It also values skills which enable the hero to master the environment and realize personal achievement (e.g., career, awards, money). These values are commonly referred to as extrinsic or masculine, as opposed to feminine values which are grounded in harmony with the community and the environment. What can be lost when our stories are skewed to the masculine is a recognition of our essential interdependence with creation and each other.

This shift toward the feminine that the Scheherazade Model incorporates is important both individually and globally. On an individual basis, feminine values are the ones that are more strongly correlated with a sense of well-being and satisfaction with life. This is true for both men and women as they age. On a global level, an embracing of feminine values is a necessary step toward lessening hostility and violence. By focusing on our interconnectedness, we can create a world in which there are fewer divisions between us, a world in which we share more equally in our natural resources and abundance, a world in which we exist in harmony with each other and with our environment.

This model is not meant to be a one-size-fits-all paradigm. Your personal myth or story will reflect the wisdom, values and experience which are unique to you and your life. But the Scheherazade Model can serve as a starting point for you, a springboard to new imaginings of your life and our world.