Author: Ophelia Benson

A couple of ideas that we’re interested in at Butterflies and Wheels were the focal points of a discussion among three historians I saw on tv recently. The US channel C-Span put Eric Foner, Robert Caro and Edmund Morris together to talk about the differences between popular and academic history, which is one issue that interests us, and in discussing that they also touched on the question of how to avoid the distorting effects of ideology in writing history. Edmund Morris is a popular biographer, who got a lot of attention, much of it derisive, for inserting himself, Zelig-like, into his biography of Ronald Reagan.
He asserted, in an emphatic and even truculent manner, that some history is “thematic” but biography has to be narrative, it has to tell the story of a life and that that story is inherently narrative and chronological, this happened and then that. He then added that academic history has become divorced from popular history because it deals with (said in a tone of increasing scorn) institutions, statistics, abstractions, when what people want is a story. Eric Foner, academic historian and author of many books accessible to a general audience, politely but firmly pointed out that that abstract and specialized kind of history provides the building blocks for the kind of popular history that Morris writes.

Morris also said, with even more disdain, that ideology has a ruinous effect on history writing. He appeared to be perfectly confident that he had no ideology himself–that, for instance, his belief in narrative and stories is not an ideology but simple transparent truth. Foner again civilly pointed out that this subject is a perennial one, that he discusses it with his students all the time, and that he tells them it is not possible to be ideology-free and the only safeguard is to know what one’s ideologies and presuppositions are. He didn’t spell it out for us but the implication for Morris’ self-satisfied naivete was obvious enough.

The discussion ended before there was time to go into the larger question of why Morris was so sure that the reading public wanted narrative and nothing but narrative. There was an essay on Morris in The New Republic last year that took him to task precisely for the mindless story-telling of his Theodore Rex, the pointless piling-up of detail, the silly you-are-thereness, the absence of ideas and thought, the studied ignoring of all the interesting scholarly work on Roosevelt in recent years. What makes Morris or anyone so sure that a general audience is interested only in story? He seems to think the notion is self-evident, but is it? Is it perhaps more of a self-fulfilling prophecy? Story is all the general audience is given, so they are trained to expect it, and to be uneasy with anything else? And it may be self-fulfilling in another way, too: if the writers of history become convinced that either audiences or (more likely) publishers will insist on Story and nothing but Story, they may decide they can’t be bothered to write anything so dull and unchallenging, hence popular history will become ever more impoverished. The issue is highly relevant to Butterflies and Wheels, because questions of public attitudes to science, truth, epistemology, understanding are the questions we want to raise, and they are inextricably involved in public education in the broadest sense, in education via popular science books, popular history books, popular philosophy books and magazines, and so on. This is a subject we’ll be coming back to.

Fashionable nonsense is a perennial subject, almost by definition. Time passes and fashions change, therefore at any given moment there is likely to be some fashionable and/or conventional wisdom around that needs correcting. Alan Ryan’s obituary for John Rawls in today’s Independent reminds us that Rawls’ theory of justice was among other things a correction of the views of the logical positivists and the utilitarians. Those views were a correction in their turn, and so back and back it goes. Humans being what they are, it can’t really be any other way: we always make mistakes of one kind or another, all we can do is keep patiently correcting each other, trying again, taking it with a good grace when others correct us. As Rawls did, in Ryan’s account: “He rarely took on critics head-on, not because he was hostile to criticism – he much preferred criticism to praise – but because he liked to revise his thoughts with his critics’ assistance, trying always to get clearer and more precise about just what the theory of justice implied.”

Malcolm Gladwell, in whimsical vein, writes in The New Yorker about the non-obvious connection between comedy-writing teams and groups that stimulate and encourage the creation of philosophy, psychoanalysis, art, ideas. He takes off from a book about the people who created the American tv show ‘Saturday Night Live,’ and then brings in Jenny Uglow’s The Lunar Men, about the group of thinkers and inventors around Erasmus Darwin and Joseph Priestley in late 18th century Birmingham. Gladwell points out that one feature of group dynamics is that friends can encourage and provoke each other to take more extreme positions than they would on their own, and that this is generally considered a bad thing. “But at times this quality turns out to be tremendously productive, because, after all, losing sight of what you truly believed when the meeting began is one way of defining innovation.”

Surely he’s right, and group-think is yet another example of those tiresome, difficult, annoying phenomena where one has to say ‘Yes but’ all the time. Some of this but some of that; can be good but can also be bad; half full or half empty. Such things make it so difficult to generalise. There are groups like Aryan Nation and the National Front, and then there are groups like Monty Python or the circle around Emerson or the people who used to meet for dinner chez Magny in Paris in the 19th century. Groups of friends can encourage and embolden useful or beautiful new ideas, or vicious ugly ones. Moderation can be closer to truth or it can be just the tame conformist compromise that gets us nowhere. Extremism can be loony and absurd and futile, or it can reveal ideas and problems and solutions we need and want. It simply depends, is the boring truth of the matter.