A Quote by Elie Wiesel
If you make a determination that [story of Abraham and the sacrifice of Isaac] is not historical, do you throw it away? I don't think we can say whether it's precisely, scientifically historical.
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[Sacrifice of Isaac] is a major theme of the so-called Elohist [one authorial strand in the Pentateuch]. It is marked by all of his linguistic characteristics, and so on. We cannot determine what is historical and what isn't. As literary critics, we would understand the importance of this for understanding life, destiny. But the historical question must be left with a question mark.
The story of Abraham and the sacrifice of Isaac are nowhere in any other tradition.
I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.
Everyone knows the beautiful story of Abraham and the sacrifice of Isaac. How this noble father led his child to the slaughter; how Isaac meekly submitted; how the farce went on till the lad was bound and laid on the altar, and how God then stopped the murder, and blessed the intending murderer for his willingness to commit the crime.
In 'Labor Day Hurricane, 1935,' Douglas Trevor vividly recreates a historical event. While that is the only story in A THIN TEAR IN THE FABRIC OF SPACE in the historical past, many of the other stories juxtapose fact-both historical and scientific-with narration to an engaging effect, one that distinguishes the voice of this new writer.
I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
In the same way that I've no desire to live in earlier historical periods, I never touch historical recipes. Most historical cooking is detestable.
Historical novels are about costumery. I think that's the magic and mystery of fiction. I don't want to write historical fiction but I do want the story to have the feel of history. There's a difference.
'Believing' cannot tip the scales in making a historical judgement about whether something really happened. I can choose to believe that George Washington threw a silver dollar across the Rappahannock, but my believing that he did it has nothing to do with whether or not he really did do it. So also with the story of Jesus walking on water: Believing that he did it has nothing to do with whether he really did do it. 'Belief' cannot be the basis for historical conclusions; it has no direct relevance.
We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.
Whether I like it or not, most of my images of what various historical periods feel, smell, or sound like were acquired well before I set foot in any history class. They came from Margaret Mitchell, from Anya Seton, from M.M. Kaye, and a host of other authors, in their crackly plastic library bindings. Whether historians acknowledge it or not, scholarly history’s illegitimate cousin, the historical novel, plays a profound role in shaping widely held conceptions of historical realities.
My first book was a historical novel. I started writing in 1974. In those days, historical novels meant ladies with swelling bosoms on the cover. Basically, it meant historical romance. It was not respectable as a genre.
I like going back in time and writing historical fantasy. I use some real historical characters as a background to give depth to the fantasy. And I throw my fictional characters into the midst of this, and, so far, it has turned out interesting.
Writing historical novels can be dangerous. We need to be as accurate and as fair about the historical record as we can be, at the same time as creating our fictional characters and, hopefully, telling a good story. The challenge is weaving the fiction into the history.
Jesus walking on water is an allegory, not fluid mechanics. God destroying the cities of Sodom and Gomorrah is a warning, not a historical battle. Doubting Thomas is an example, not a person. The story of Noah, with all of its scientific and historical impossibilities, can be read the same way.
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