The Art of the Tale: Story-Telling and History Teaching * David M. Kennedy All good stories begin the same way: “once upon a time.” In that very first phrase of so many of the tales we all heard as children, and later re-told to our own children, we find not one but two signals of the relationship between storytelling and history teaching. One is the explicit mention of time (and the implication that the moment in question was in the past). The other is the somewhat less obvious but equally important reference to the uniqueness of the story that is being introduced in that venerably ritualized idiom: “once” upon a time, a reminder of Heraclitus’s dictum that we can never step twice into the same river, that all events are discrete, and understanding their singularity is close to the essence of the historian’s craft. There may be twice-or even thrice-told tales—indeed the re-telling, or, as we sometimes say, the re-vising, of well-established historical tales is in some ways our principal professional pursuit. But the repetition is in their telling, not their happening. And that emphasis on the telling reminds us that understanding and developing point of view, or perspective, is just as central to the historian’s art as is the establishment of empirical, factual accuracy. The storyteller, and where he or she sits, is no less important than the story itself. Allow me to re-tell one of the tales from the inventory of stories that make up my own teaching repertoire. It begins, of course, like this: once upon a time . . . there was a customer who wanted his laundry done. . . . Mine is a historical story, meaning that it concerns real people and real events. But to tell it well, I suggest, requires marrying to the techniques of the historian the techniques of the professional storytellers among us—the novelists. The great English statesman and writer, Thomas Babington Macaulay, said that “when history is properly written, there will be no need for novels.”A version of that same thought frequently enters our common speech. It usually takes the form of a comment about a work of historical scholarship that “it reads like a novel.” That remark has long intrigued me. What does it mean? It is obviously intended as a compliment paid to the particular work at hand—a book that is easy to read, fetching, appealing, a page-turner, interesting! But, by inference, that kind of remark is simultaneously intended as an indictment [End Page 462] of most specimens of historical writing for not reading like novels at all, indeed for sometimes testing the very definition of readability. The complimenter who utters that phrase, however, also implicitly presumes—and I think rightly—that there is some kind of deep affinity between novels and histories, that they may be properly assimilated to one another. Though who among us has ever heard someone make the inverse case, i.e., praising a novel for “reading like a history?” I might add (parenthetically) that the indictment of much historical writing (and teaching) for its unreadability or general inaccessibility is especially apt when it is applied to history textbooks, works that are often cast in that peculiarly repellent variant of the historian’s idiom that Frances Fitzgerald some years ago, in America Revised, called “textbook prose.” Fitzgerald did concede that there might be exceptions to the rule of “textbook prose.” As she put it: “American history texts are not . . . by their nature dull. They have achieved dullness.” What might explain that . . . achievement? And, by extension from the pages of the textbooks to what happens in our classrooms, what might explain the common reaction from students that history is a dull subject? To paraphrase Fitzgerald: history—one might well say especially American history—is not by its nature dull. By what means, therefore, has our guild contrived to give an apparently convincing impression that it is? Is there something to be learned from the nature of the novel, and the novelist’s craft, about how we might breathe more vitality and interest into our subject? Can my story of the customer’s laundry—which begins...
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