Rick Rockett

Historical Fiction and History: What can we learn from it?

What can we learn?

Historical Fiction and History: What can we learn from it?

Introduction

Novels—fictions of various styles and sub-genres—are quite entertaining and help us escape from the world for a time. They expand our concepts of what is and what can be. They untether us from reality and thrust us into an expanse of diverse and fantastic worlds with engrossing characters. Can they do more?

All writing is, at its essence, an act of creation. Whether a factual narrative—biographies, memoirs, and narrative histories—or something more inventive—creative history, historical fiction, or alternate fiction—they all convey information and provide us some level of entertainment. That one group of writers adheres to one set of conventions, or another isn’t the issue. Instead, how well they inform and draw us into the story is far more relevant and persuasive.

Literary writing spans a broad spectrum ranging from fiction (imaginative and/or speculative) to non-fiction (biography/narrative/analytical). What are the various classifications of writing in the world of history? What can we glean from the various genres of historical writing? Let’s take a quick look at the major styles of historically-based writing.

It might be better to ask, “Can any of these genres not only entertain us but better inform us about history?” In exploring the question, let’s look at some examples to examine several of these genres as a means of gaining a greater understanding and appreciation of the academic discipline of history.

Narrative and the ‘Rosenberg Paradox’

Before we dig deep into the question at hand—the utility of historical fiction in the study of history—we must first take a brief look at a primary tool used in history and every other field of endeavor: Narrative. Human history, even our lives today, is wrought with narrative. But what is narrative? Can history or anything else, for that matter, be communicated without it?

Narrative is that process of conveying information through a story. With the exception of numerical data, everything we say and write is part of a narrative. We are story tellers at heart, and it is through stories that we add meaning to events, and data. Though argued by many—including Foucault, Lyotard, and Munslow— it is Alex Rosenberg who makes the most direct assault on narrative’s utility painting a bold target on historians use of the tool.

Rosenberg states that narrative clouds our understanding—tainting—the information presented [Rosenberg]. Though deeply ingrained in who we are as human beings , narrative is something that we must excise from how history is told, adopting the more sterile scientific method to communicate history.

Ironically, the very vehicle they wish to cast aside is precisely the tool they use communicate information to enhance our understanding. Rosenberg admits that he, as much as anyone, is a “victim of narrative.” Like historians, philosophers, doctors, accountants, and scientists are dependent on narrative. Without it narrative, in some form, information loses meaning and falls on deaf ears.

Here is the paradox of Rosenberg’s argument: with narrative information (history) is tainted; without it there is no meaning, it devolves to datapoints.

What the Genres?

Narrative History or Academic History - This form of historical writing is the one we are most familiar with. Narrative History is ‘fact-based,’ minimizing creative license in the narrative—adding elements that cannot be supported by historical sources or the embellishing of fact to enhance the reader’s emotional investment in the narrative. This genre can include biographies and memoirs.

_Modern Marvels_, produced by The History Channel, provides a narrative of technology that makes the mundane exciting. — *Modern Marvels*, produced by The History Channel, provides a narrative of technology that makes the mundane exciting.

- [Frederick Jakson Turner](https://en.wikipedia.org/wiki/Frederick_Jackson_Turner)’s ["Frontier Thesis"](https://en.wikipedia.org/wiki/Frontier_Thesis) (book)
- [History Channel](https://en.wikipedia.org/wiki/History_(American_TV_channel))’s [_Modern Marvels_](https://en.wikipedia.org/wiki/Modern_Marvels) (television)
- [L. Jay Oliva](https://en.wikipedia.org/wiki/L._Jay_Oliva)’s [_Peter the Great_](https://en.wikipedia.org/wiki/Peter_the_Great) (book)

Creative History or Nonfiction - Creative History, or non-fiction, takes borrows from the academic narrative and interjects elements that may not be supported by historical sources, yet is consistent with the events and larger narrative (Creative; Gary). The information in these books is as accurate and verifiable, but the language and narrative techniques provide readers with a more literary experience and presumably a greater emotional connection with the book’s content (Sanger;).

familiar to many, the film _Butch Cassidy and the Sundance Kid_ has been an invitation for many to read more deeply about the American West. — familiar to many, the film *Butch Cassidy and the Sundance Kid* has been an invitation for many to read more deeply about the American West.

- [Alex Haley](https://en.wikipedia.org/wiki/Alex_Haley)’s [_Roots_](https://www.imdb.com/title/tt0075572/?ref_=fn_al_tt_1) (book and television)
- [Nadezhda Durova](https://en.wikipedia.org/wiki/Nadezhda_Durova)’s [_The Cavalry Maiden_](https://www.historynet.com/nadezhda-durova-russian-cavalry-maiden-in-the-napoleonic-wars.htm) (book)
- [_Butch Cassidy and the Sundance Kid_](https://www.imdb.com/title/tt0064115/?ref_=nv_sr_2?ref_=nv_sr_2) (movie)

Historical Fiction - Based in a documentable historical setting, historical fiction adds elements created by the author that cannot be supported by the historical record. It strives “for the story that underlies reality and thus become an imagined reality” (Dictionary; HistFic vs Hist).

An exciting and energetic HBO presentation, _Rome_ brings life to Caesar's Rome. — An exciting and energetic HBO presentation, *Rome* brings life to Caesar’s Rome.

- [HBO](https://en.wikipedia.org/wiki/HBO) mini-series [_Rome_](https://www.imdb.com/title/tt0384766/?ref_=fn_al_tt_1) (television)
- [Leo Tolstoy](https://en.wikipedia.org/wiki/Leo_Tolstoy)’s  [_War and Peace_](https://en.wikipedia.org/wiki/War_and_Peace) (book)
- [James Michener](https://en.wikipedia.org/wiki/James_A._Michener)’s [_Centennial_](https://en.wikipedia.org/wiki/Centennial_(novel)) (book)

Alternate History - A storyline that has a point and time in history as a point of origin, but then diverges from the historical timeline to present a “what if” scenario to the reader, exploring a history that might have been (MerriamWebster; Wikipedia).

The BBC's _The Black Adder_ introduces audiences to an disfunctional character and his decendents passing through various epochs of British history. — The BBC’s *The Black Adder* introduces audiences to an disfunctional character and his decendents passing through various epochs of British history.

- [Philip K. Dick](https://en.wikipedia.org/wiki/Philip_K._Dick)’s [_Man in the High Castle_](https://en.wikipedia.org/wiki/The_Man_in_the_High_Castle) (book and television)
- [Robert Harris](https://en.wikipedia.org/wiki/Robert_Harris_(novelist))’ [_Fatherland_](https://en.wikipedia.org/wiki/Fatherland_(novel)) (book and movie)
- [BBC](https://en.wikipedia.org/wiki/BBC)’s [_The Black Adder_](https://en.wikipedia.org/wiki/The_Black_Adder) (television)

Fictional History - These are histories of the real world that do not qualify as alternate history (fictitious histories which diverge from real history before the time of writing). This genre is often confused with Historical or Alternative Fiction (Wikipedia; Goodreads).

George Orwell's _1984_ presents a dystopian future where citizens are under constant scrutiny. — George Orwell’s *1984* presents a dystopian future where citizens are under constant scrutiny.

- [J.K. Rowling](https://en.wikipedia.org/wiki/J._K._Rowling)’s [_Harry Potter and the Chamber of Secrets_](https://en.wikipedia.org/wiki/Harry_Potter_and_the_Chamber_of_Secrets) (book and movie)
- [Jane Austen](https://en.wikipedia.org/wiki/Jane_Austen)’s [_Pride and Prejudice_](https://en.wikipedia.org/wiki/Pride_and_Prejudice) (book, movie, and television)
- [George Orwell](https://en.wikipedia.org/wiki/George_Orwell)’s [_1984_](https://en.wikipedia.org/wiki/Nineteen_Eighty-Four) (book)

Fiction - • Literature, which is in part or wholly created by the author. This overarching genre is vast and can arguably encompass all of the styles mentioned here, except for Narrative History (Goodreads; Brittanica).

In _Dune_, Frank Herbert created an engrossing and vibrant world far in the future of humanity. — In *Dune*, Frank Herbert created an engrossing and vibrant world far in the future of humanity.

- [Frank Herbert](https://en.wikipedia.org/wiki/Frank_Herbert)’s [_Dune_](https://en.wikipedia.org/wiki/Dune_(novel)) (book, movie, television)
- [Suzanne Collins](https://en.wikipedia.org/wiki/Suzanne_Collins)’ [_Hunger Games_](https://en.wikipedia.org/wiki/The_Hunger_Games) (book and movie)
- [J.R.R. Tolkien](https://en.wikipedia.org/wiki/J._R._R._Tolkien)’s [_Lord of the Rings_](https://en.wikipedia.org/wiki/The_Lord_of_the_Rings)

We generally understand that history studies the past (Lemon, 293). From here, we move forward to apply those genres that best inform and engage us as observers, students, and readers.

It would be fair to say that the least useful to our conversation, in terms of the study of history, are Fiction, Fictional History, and Alternative History. While interesting, in their own right, they do virtually nothing to expand our understanding of or bring us closer to the historical record. For this reason, let’s continue the discussion with the other three: narrative history, creative history, and historical fiction.

To simplify matters, I will simply use ‘historical fiction’ to refer to both historical fiction and creative history. In fairness, historical fiction is part of a literary spectrum ranging from fiction to narrative (academic) history, with several stops along the way. Each of these is part of a spectrum with none holding a fixed position, each arguably blending into the next.

Similarities

While narrative history and historical fiction differ, they also have much in common. Each depends on an in-depth knowledge of history’s critical elements: people, places, and period. This knowledge comes from extensive research into each facet of the overriding narrative arc. This is done to convey the most accurate and believable depiction of history. Without the gathering of the credible source material, the author fails to reach us effectively and credibly. It is this common foundation that establishes the value of the content beyond that of mere entertainment.

What is historical fiction?

Historical fiction, is a literary genre that, while based in past events and notable characters, uses fictional interactions and secondary characters to create a vibrant and vivid narrative to engage you, the reader, similar to creative fiction. Still, before we delve into the genre, we need to come to terms with a broader understanding of historical fiction’s place in the literary world.

The lines are blurred between creative history and historical fiction. So, as I mentioned earlier, we will refer to both as historical fiction. The injection of dialogues and minor events, though not supported by historical primary sources, increases our involvement and interest in the story without altering the historical narrative.

Historical Fiction vs. Narrative History

Each of us, remembering our high school World History class, knows how dry and uninspiring narrative histories can be. Names, dates, locations, and people are at the very center of what we were all taught history is ‘supposed to be.’ The facts, just the facts, please. No wonder many of us despised these classes, with several falling asleep (no finger pointing here).

Without realizing it, we were indoctrinated into the Euro-centric and nationalistic histories that colored our understanding of history and the world. Even today, Euro-centrism and nationalism pervade what is taught to children in schools in the western world.

Now, what if that the method and tools of teaching history were turned upside-down? Enter historical fiction.

What is the role of historical fiction?

For centuries we have relied on the traditional ‘narrative’ to inform us in the academic world. Whether Greek (Ptolemy, Timaeus), Roman (Tacitus, Livy, Pliny), Christian (Augustine, Eusabius Pamphili, Socrates of Constantinople, Caesar Baronius), or [modern] (Leopold van Ranke, Frederick Jackson Turner, Voltaire), historians have rejected the idea of anything other than the ‘facts for fact’s sake_,’ leaving us with the narrative style we have known throughout our schooling. While the ‘facts’ are central to the very nature of historical studies, there is a lack of emotion and investiture for us as the readers.

Michelangelo's _Creation of Adam_, on the ceiling of the Sistine Chapel, is a representation of the Christian creation myth. — Michelangelo’s *Creation of Adam*, on the ceiling of the Sistine Chapel, is a representation of the Christian creation myth.

Historical fiction, a genre that goes beyond the absolute historical record, interpolating and intuiting the missing dialogues and minor events. It adds a vibrancy—excitement—that has long been missing from the chronicle. Early civilizations—Greeks, Romans, Persians, Chinese—used myths to inform and teach about their origins and place in the world. This was done to equal effect within Christendom, with the Old and New Testament stories of the Bible, beginning with the creation myth in the “Book of Genesis”. Then, as now, these fictions informed readers (or listeners) of the very nature of who they were and where they came from. These works are, arguably, more fiction than fact, yet there is little debate as to their value to the study of history.

Historical fiction is different. In fact, it is more historically accurate, by many accounts, than the Greek, Roman, or Christian mythologies. The bodes well for its utility to us as readers of history. We strive for accuracy and detail, which is at the heart of historical fiction.

(Top to Bottom) Colleen McCullough's _Masters of Rome series_ provides an informed and insightful look into ancient Rome. — (Top to Bottom) Colleen McCullough’s *Masters of Rome series* provides an informed and insightful look into ancient Rome.

A great example of this is [Colleen McCullough]’s(https://en.wikipedia.org/wiki/Colleen_McCullough) Masters of Rome novels. These well-research works enliven the world of pre-Christian Rome through the use of dialogue, personal interactions, and transitional events. While not drawn directly from the historical record, these contrived elements enhance the histories—stories—of the primary actors. She tells of the rise to power and rule of Roman men whose names are familiar to us: Gauis Marius (The First man in Rome), Lucius Cornelius Sulla (The Grass Crown), and Gaius Julius Caesar (Caesar). While not academic narratives, these works instill life and vibrancy to the historical record that lures us into the world of these men and events: history.

As illustrated earlier, further examples of historical fiction abound.

Assessing the value of historical fiction?

Clearly, we can’t accept these works as historical ‘gospel.’ With the addition of fictional elements, we have to differentiate the factual from the contrived. Even so, the factual portions of these works are enhanced by the inclusion of the fictional aspects. Provided we understand and recognize the difference between the history and the fiction, historical fiction can present a more significant opportunity to grasp and become involved in the story that narrative accounts are unable to accomplish.

A place for historical fiction in the study of history?

By its very nature, historical fiction is part of the study of history. Building upon subject matter research, these works extend the reach of traditional narrative works. Authors of the historical fiction genre are, to varying degrees, committed to building a world based on factual, credible evidence to construct a firm historical foundation for their work. Without this foundation, the author and work are lacking in credibility and cast us into a world of fantasy. While still engaging, it fails to enhance our understanding of the past and draw us into a more in-depth search into past events, places, and personalities.

Expanding interest in history?

The author’s passion for the subject and their dedication to research and accuracy of the presentation carries over to us, the audience. These elements enhance the study with the development of dialogue and characters we are unable to reconstruct from historical sources. They add to our ability to visualize the people, places, and events in a historical context. Historical fiction gains our emotional investment by creating an active and engaging environment, acting as a tool to increase our interest in the historical topic the author is presenting.

A recruitment tool?

Though interspersed with fictional elements, These works increase our personal involvement in history, driving us to read and investigate the subject through more traditional academic sources. Reaching into the primary source material, these inquiries into the past increase our interest and involvement in history. Integrating works of historical fiction (and creative history) into the academic environment provides a means of drawing more students into the academic study of history.

In Closing

The study of history can be quite dry or very engaging. Looking back on the past not only tells us about where we came from but can inform us about where we are going. It helps us to understand ourselves and those around us. It builds skills that serve us in virtually every field of endeavor. Through research, organization, language, and argumentative writing, we are better prepared to face the challenges of the ‘real world.’ But is something missing?

With the addition of well-researched historical fiction to the study of history, we are adding a creative spark that may well be lacking in the field. Creativity manifests itself in many ways, such as invention and expression. Creativity nourishes, expanding our visions, and drawing us closer to who we are. Should we now deny the very essence of creativity in the study of history? How can we deny our nature as an imaginative and resourceful species?

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