Finally, by way of conclusion, the final chapter of this book, ‘Telling (Ghost) Stories’, considers storytelling itself as a crucial technology for the project of “living with ghosts”. Beginning with the gendering of the hakawati—public storytelling—tradition, this chapter considers how “herstories” are told and knowledge is conveyed beyond the page in ABAAD MENA’s ‘Undress 522’ campaign, and in the #AnaKaman movement, the Arabic equivalent to the Anglophone #MeToo movement. In novels like El Saadawi’s The Fall of the Imam [Suqūṭ al-imām] (2001 [1993]), and Love in the Kingdom of Oil [ḥubb fīzaman al-naff̣t] (2001 [1993]), Haddad’s The Seamstress’ Daughter (2019), Ez Eldin’s Maryam’s Maze [matāhat Maryam] (2009 [2007]), Al-Tahawy’s The Tent [al-khiba’] (1998 [1996]) and Gazelle Tracks [naqarat el-ẓeba’] (2008), and Ghandour’s The Honey (2009), instances of storytelling within these novels become imbued with the project of producing and disseminating knowledge about women’s lives, to use imagination to fill in some historical gaps. In this chapter I show how some oral traditions are captured on the page, and the spectre of Scheherazade from the Thousand and One Nights, a “spokeswoman” or “template” for Arab women’s storytelling, is negotiated and usurped in favour of telling stories for other women and to use storytelling and mythmaking to make, explain, and disseminate women’s knowledge; using irreal fiction to explain how things really are.