Storytelling, Self, Society, Vol. 17, No. 1 (2021), pp. 1–9. Copyright © 2022 by Wayne State University Press, Detroit, MI 48201 Introduction to the Special Issue Storytelling in the Uncanny Valley Joseph Sobol and Ariel Gratch I n September 2017, the Timpanogos Storytelling Festival was held for the first time at a spectacular new site, along the serpentine footpaths of Ashton Gardens in Lehi, Utah, in the suburbs of Salt Lake City. Now indisputably the largest and most lavishly endowed storytelling festival in the United States, Timpanogos is set apart by having been founded, funded, and steered by a single private patron, the Ashton family, a major philanthropic force in central Utah. The storytelling festival is one of their signature projects. Another is Ashton Gardens at Thanksgiving Point, where a landscape tapestry of fourteen historic gardens has been overlaid and intensively irrigated atop the sandy desert soil of the Wasatch Valley. At Ashton Gardens there is a Grecian garden ranged around a plateau of primly roofless colonnades; a Roman garden complete with miniature aqueduct; a French garden with a Monet water lily motif framing a koi pond; a rose garden in the form of a monastic courtyard; a Secret Garden in the manner of Hodgson Burnett; a Garden of Gethsemane with Galilean flora and a life-sized (but discreetly vacant) timber cross; and so on. There is an amphitheater of sloping lawns that seats five thousand around a stage flanked with Jumbotron screens, and behind it a reproduction waterfall with sandstone cliffs that simulate the geology of southern Utah’s own Bryce Canyon. At the festival during the daytime the waterfall purls away in the distance, but for the evening concerts at the amphitheater the torrent is thoughtfully shut off, leaving an eerie and complex void. 2 n Introduction to the Special Issue Watching the contemporary narrative performance extravaganza play out amid this dense ecology of applied cross-cultural signifiers, all tightly bound within the soft power web of the Church of Latter-Day Saints, one can be forgiven for finding oneself lost in a kind of uncanny valley of storytelling. The uncanny valley is a term of art in robotics, animation, and artificial intelligence; it denotes the concave emotional landscape in which increasingly lifelike simulations of human and natural phenomena begin to shift the viewer’s responses from attraction and delight to unease, anxiety, and dread. Of course, it is easy enough to float through this parkland of artificial Edens with nothing but pleasure at their sumptuous surfaces and ingenuities of design. But at some level the sheer volume of water springing from the desert that this topiary magic show demands to sustain itself creates subsidence beneath the basement of the mind. Once a sinkhole opens, the landscape may never quite recapture its radiant first impressions. Storytelling during the COVID-19 pandemic era of the twenty-first century ’s third decade plunges us still deeper into the uncanny valley. In one swoop the watershed of venues that fed the contemporary storytelling profession was closed off like the cataract in Ashton Gardens’ sandstone canyon, leaving a similarly complex void. Storytellers being the resourceful performing animals that they are, the void began to be filled almost immediately with a hubbub of online voices. The contemporary storytelling movement by now represents a generational succession of movements germinating in distinct cultural domains. The festival -based storytelling movement of the 1970s and 1980s has been analyzed as a phenomenon of secondary orality (Sobol, 113–133, 150–165), a homeostatic post-hippiedom re-grounding reflex on the part of a society adrift in televisual, technologized spaces and cut off from their roots in oral/kinesthetic expression. The personal storytelling movement that exploded in the United States after the millennium expresses a very different phase in what Walter Ong called “the technologization of the Word.” Storytelling platforms like The Moth and other Story Slams were organically conceived as cross-platform events, grounded in live performance but filmed and recorded for curation into syndicated radio shows, audio podcasts, and YouTube channels. All these outlets feed back into the branding echo-system and build audiences for the live shows, becoming key elements of their media phenomenology (Sobol, 6...