Self-Reflections on Beyond the Great Story: The Ambivalent Author as Ironic Interlocutor Robert F. Berkhofer Jr. (bio) It is truly flattering to have such thoughtful scholars read so carefully one’s book. Their diverse comments prove once again the basic truth of reader-response or reception theory: the same text is read in varying ways by different scholars. As a corollary of this principle: no text can be all things to all persons and all interpretive communities (in spite of an author’s hopes). The three commentaries individually and collectively raise, and at times exemplify, significant issues and problems common to discussions of modernism and postmodernism in relation to historical practice. My book argues that these complicated issues and their implicated problems in this debate are as important to working, that is practicing, teachers, writers, filmmakers, archivists, and museum exhibitors as they are to those with a general theoretical interest in how to represent the past as (a) history. I propose in this forum to discuss how this mixture of theory and problems of practice apply to Beyond the Great Story: History as Text and Discourse as authorial artifact. What is the irony of postmodernist theorizing that inspires Beyond The Great Story? The chief dilemma of postmodernist theorizing for the historian in my opinion is how to do history when all is “nothing but history.” 1 At the heart of postmodernism according to some scholars is the radical historicization of all intellectual categories and disciplinary practices, including those of historical representation itself. Since, as F. R. [End Page 365] Ankersmit argues, postmodernism is not “content to stop halfway” in its historicism, postmodernist theorizing deconstructs all current efforts to construe and represent the past as history at the same time as it privileges, even demands, a thorough-going historicization in and of all disciplines. 2 To assert under these circumstances that all should be historicized does not solve the problem of how to represent the past in a classroom, book, museum exhibit, or film. Does Beyond the Great Story advocate a postmodern approach to historical textualization? Reviewers have differed on whether I have “converted” in my old age to postmodernism or still harbor the high and late modernist orientations exhibited respectively in A Behavioral Approach to Historical Analysis (1969) and The White Man’s Indian (1978). No matter how convoluted the evolution of my book’s text, I always intended the volume as a guide to the controversies over old and new claims of how best to pursue Clio’s promise to record and exhort. Although the book turned out far longer than I ever intended, the general purpose and thrust remain the same: a handbook examining the controversies over modernist and postmodernist approaches to practicing and representing history today. That the issues are complex and the problems resistant to easy solution complicate any simple exposition, especially according to traditional standards of English style which embody an Anglophone common-sense philosophy of language opposed to the basic premises of a self-conscious postmodernism. I did not intend to maintain a unified, consistent position in the book. First, I tried to represent the mutually incompatible positions modernists and postmodernists take on such basic issues as text and context, politics and paradigms, constructionism and historical representation, and authority and objectivity. Second, I am ambivalent on some of the issues myself. Perhaps because I have lived through and tried to understand too many academic fashions, I am sympathetic to aspects of both late and postmodernist positions. Both the inclusion of positions with which I disagree and my ambivalence on some of the most important issues probably accounts for my authorial/rhetorical stance as the ironic interlocutor in the book. I firmly believe, however, that both late modernist self-conscious constructionism and postmodernist reflexive deconstructionism demand new forms of historical representation different from those customary in the discipline. 3 [End Page 366] Is Beyond the Great Story itself a postmodernist history? This is a matter of genre if that word refers to the conventions one or more interpretive communities use to decode an artifact in order to read it as a text and establish its meaning. This is a matter of the relationship between...