Conclusion
Storytelling, according to Salmon (2010), bewitches modern managers’ minds. And myth is a primal form of storytelling that has many contemporary champions, not least on the consultancy circuit (Mark and Pearson 2001; Randazzo 1995). Executives are routinely urged to myth-inform their brands, then turn them into legends (Vincent 2002). Today’s brands, Holt (2004, p. 59) contends, compete in “myth markets” and thereby deliver “symbolic sustenance” to consumers. “The telling of product and brand-based myths,” Caruana and Glozer (2014, p. 199) claim, “serves to ameliorate existential ambiguities surrounding personal identity burdens.”
Myth has cornered the market among culturally inclined retailing and consumer researchers(Arnould 2005; Arnould and Thompson 2005). Epic, by contrast, rarely features on retailers’ radar, except as a superlative, an adjectival intensifier that’s primarily employed for sales promotional purposes (epic offers, epic deals, epic prices, etc.). Yet the epic, as a literary genre, offers an alternative perspective on marketplace matters, a perspective that is related to, yet different from, the myth-shaped stories that dominate academicians’ discourse and the storied solutions sold by management consultants.