A Quote by Lloyd deMause
Written history may, in the course of its narrative, use some of the laws established by the various sciences, but its own task remains that of relating the essential sequence of historical action and, qua history, to tell what happened, not why.
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There has always been interest in certain phases and aspects of history - military history is a perennial bestseller, the Civil War, that sort of thing. But I think that there is a lot of interest in historical biography and what's generally called narrative history: history as story-telling.
It is important to insist on the historical truthfulness of the narrative of the fall of Adam and Eve. Just as the account of the creation of Adam and Eve is tied in with the rest of the historical narrative in the book of Genesis, so also this account of the fall of man, which follows the history of man's creation, is presented by the author as straightforward, narrative history
Art may not have the power to change the course of history, but it can provide a perspective on historical events that needs to be heard, even if it's seldom heeded. After all the temporary influences that once directed the course of history have vanished, great art survives and continues to speak to each generation.
There are a whole other range of sciences that must deal with the narrative reconstruction of the inordinately complex events of history that can occur but once in their detailed glory. And for those kinds of sciences, be it cosmology, or evolutionary biology, or geology, or palaeontology, the experimental methods, simplification, quantification, prediction and repetition of the experimental sciences don't always work. You have to go with the narrative, the descriptive methods of what? Of historians.
Not all that is presented to us as history has really happened; and what really happened did not actually happen the way it is presented to us; moreover, what really happened is only a small part of all that happened. Everything in history remains uncertain, the largest events as well as the smallest occurrence.
Whole great chunks of written history are of little value to the psychohistorian, while other vast areas which have been much neglected by historians - childhood history, content analysis of historical imagery, and so on - suddenly expand from the periphery to the center of the psychohistorian's conceptual world, simply because his or her own new questions require material nowhere to be found in history books.
When I was young I believed that "nonfiction" meant "true." But you read a history written in, say, 1920 and a history of the same events written in 1995 and they're very different. There may not be one Truth - there may be several truths - but saying that is not to say that reality doesn't exist.
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.
We as Black people have to tell our own stories. We have to document our history. When we allow someone else to document our history the history becomes twisted and we get written out. We get our noses blown off.
Why does an apple fall when it is ripe? Is it brought down by the force of gravity? Is it because its stalk withers? Because it is dried by the sun, because it grows too heavy, or because the boy standing under the tree wants to eat it? None of these is the cause.... Every action of theirs, that seems to them an act of their own freewill is in the historical sense not free at all but is bound up with the whole course of history and preordained from all eternity.
I feel very strongly that where the facts exist, a historical novelist should use them if they're writing about a person who really lived, because a lot of people come to history through historical novels. I did. And a lot of people want their history that way.
For long, history was mainly political history, and historical narrative was confined to an account of the most important crises in political life, or to an account of wars and great generals.
Let's say that history is what happened. The record of what happened is how each individual happens to see those events. They've already been ?ltered. When the historian or biographer takes over, history is no longer exactly what happened, because there has been a process of selection going on; it's impossible to write about anyone, any event, in any period of time, without in some way imposing, even unconsciously, your own standards, your own values.
We've all faced the charge that our novels are history lite, and to some extent, that's true. Yet for some, historical fiction is a way into reading history proper.
I established the opposite view, that this history of the embryo (ontogeny) must be completed by a second, equally valuable, and closely connected branch of thought - the history of race (phylogeny). Both of these branches of evolutionary science, are, in my opinion, in the closest causal connection; this arises from the reciprocal action of the laws of heredity and adaptation... 'ontogenesis is a brief and rapid recapitulation of phylogenesis, determined by the physiological functions of heredity (generation) and adaptation (maintenance).
Many historians will tell you that there are no laws of history and no great cycles that govern human events. History often appears more random than rhythmic. But if not patterns or cycles, there are certainly coincidences and some are so marked that they are hard not to notice.
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