In this article the authors adopt "tuning the ear" as a metaphor for listening within narrative work. The distinction between listening as an intentional event, influenced by personal, theoretical, and political intentions is discussed. A central idea involves distinguishing between "listening to" and "listening for," which suggests that therapists select events to be heard or not heard. The authors suggest that intentional listening can lead to therapeutic conversations that bring forward aspects of the lives of both clients and the therapists that would not have been predicted by the problem story. A map around intentional listening is presented, the Tuning the Ear Map, which includes four levels: tuning in, intentions, consequences, and action. The map is illustrated with excerpts from a conversation within a live supervision group. 1 The most elementary aesthetic act is the selection of a fact. Gregory Bateson Listening is understood in different ways by different approaches to therapy, depending on the basic assumptions prevalent within each theoretical tradition. In narrative therapy, the therapist adopts a position of intentional listening to select ideas or events to bring forward that might otherwise have been missed. This intentionality includes an openness to hearing the 51

Narrative therapy is often misunderstood as offering a counter story to the dominant story and, in the process, rendering a new single account that eliminates the dominant story as an influence in the client's life. Using bilingualism and the literary genre of magical realism as analogies to rethink this practice, the author argues for the importance of holding both stories simultaneously, preserving the relationship between them. Bilingual speakers are able to cocogitate in two worlds of thought simultaneously, and magical realism authors demonstrate how to expose power differentials by inverting inequalities and undermining authorities. Such skills can be used by narrative therapists to reexamine their work and open new possibilities for clients. The article includes two illustrative therapeutic conversations.

Critical suicidology (White, Marsh, Kral, & Morris, 2016 ) offers a critique of positivism as the mainstream rhetoric of scientific research. In this article, the authors add a critique to the moral detachment of scientific inquiry (Wilkinson & Kleinman, 2016 ) in suicidology. They provide a discussion at the intersection of theory and research when considering moral care of all stakeholders in the implementation of suicide research toward the development of more humanitarian policies and program alternatives. The authors reflect upon their experience of conducting an Interpretative Phenomenological Analysis (Finlay, 2011 ) on suicide in the U.S. military.

Engaging faithfully with practices that originate in foreign cultures carries the risk of colonizing local contexts if the impossibility of a perfect match between cultures is not addressed. The author alludes to her autoethnographic doctoral dissertation in which she addressed the decolonization of narrative practice when "imported" into Latin America. She presents autoethnography as the means by which she researched her experience attempting to decolonize narrative practices by translating them into her native Colombian Spanish. She presents a distinction between a genre of translation with aspirations of literality, potentially colonizing, and one based on postmodern translation studies. She addressed this latter genre as a decolonizing practice that offers translation resistance (Tymockzo, 2010). She depends from this postmodern translation genre to re-inventing narrative practice's renewed meaning and alternative vocabularies as it crosses the borders between cultures/languages. A possible line of translation inquiry is introduced by taking the translation of the term "re-authoring" (White, 2007) as an illustration.

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