Академический Документы
Профессиональный Документы
Культура Документы
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access
to Reviews in American History
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
INSUFFICIENT WOE: SENSE AND SENSIBILITY IN
WRITING NINETEENTH-CENTURY HISTORY
Andrew R. L. Cayton
Henry and Clara Rathbone, the unfortunate couple whose lives were forev
scarred by a chance invitation to attend the theater on an April night in 1
with the President of the United States and Mrs. Lincoln,
amounts in the end to no more than a scaffold, and the reader should know t
I have taken liberal advantage of the elbow room between the scaffold's girder
and joists. The narrative that follows is a work of inference, speculation, an
Reviews in American History 31 (2003) 331-341 @ 2003 by The Johns Hopkins University Press
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
332 REVIEWS IN AMERICAN HISTORY / SEPTEMBER 2003
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
CAYTON / Sense and Sensibility in Writing Nineteenth-Century History 333
narrators. They construct the past as an enigma and the study of it a cul-de-
sac. Critics complain that these writers toy with readers, some of whom
express frustration with the absence of clear-cut narrative. More than exer-
cises in wit and guile, however, these novels require readers to engage both
author and story emotionally as well as intellectually, to judge by instinct as
well as intelligence on the basic of incomplete information delivered by
characters who may not be what they seem to be.6
Three decades ago, in writing The Killer Angels, an acclaimed and popular
novel about the battle of Gettysburg, Michael Shaara deliberately bypassed
historians and depended "primarily on the words of the men themselves,
their letters and other documents." Shaara proffered a kind of populist
history, Jeffersonian in its implication that an ordinary person is as likely to
make sense of the past as a professor. Gettysburg matters less as a military
and political occurrence than as a sad but necessary event in which decent
men tried hard to do the right thing, and suffered misery and death for their
efforts. The Killer Angels is a tragedy of Shakespearean proportions: men
destroyed in righteous causes, undone by the honest mistakes of well-
intentioned leaders; victory won by the instincts of a classics professor from
Maine. Shaara constructed a narrative whose power flows from a gathering of
details morphing into elegy. Like the creators of the film Glory, Shaara made a
plausible case for the necessity of tens of thousands of deaths.7
As important, Shaara invited readers to participate in interpreting
Gettysburg. Unlike a professor, he does not lecture. Rather, he engages his
readers in a kind of conversation that allows his conclusions to become their
conclusions. When the rain comes at the end, "cleansing the earth and
soaking it thick and rich with water and wet again with clean cold rainwater,
driving the blood deep into the earth, to grow it again with the roots toward
Heaven," you do not have to be instructed in meaning. "It rained all that
night. The next day was Saturday, the Fourth of July."8
This is old-fashioned storytelling, nineteenth century in the sense that
Shaara reproduces the cadences of the world he is trying to recreate and in
that it is deeply romantic in ambition as well as morality. The structure of The
Killer Angels consists of a series of chapters told from the viewpoints of
individuals such as Joshua Chamberlain and James Longstreet. This approach
allows the novelist to finesse one of the great challenges of modern historiog-
raphy. We believe in multiple interpretations; we accept the idea that truth,
such as it is, emerges from the collision of several different perspectives; we
teach that history is a collection of conflicting interpretations. Yet we have
found no satisfactory form for expressing the challenge we have given
ourselves. How do we write a history that is multiple within a traditional
linear narrative or an argument written in the form of a lecture, that is, the
monograph?9
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
334 REVIEWS IN AMERICAN HISTORY / SEPTEMBER 2003
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
CAYTON / Sense and Sensibility in Writing Nineteenth-Century History 335
and efficiently. In The Promise of the New South, Edward Ayers tried to "quote
rather than paraphrase, show rather than describe, dramatize rather than
summarize" in order to write "a more active and intimate history." Eschewing
"the linear illusion of a seamless story," Ayers "shifted from one perspective
to another within chapters, letting the space on the page mark the disjunc-
tions, the gaps among people's perceptions." Like an impressionist painting,
Louis Masur's 1831: Year of Eclipse (2001) consists of a series of seemingly
random parts, stories in this case, whose meaning comes from the pattern
they form when the reader steps back and seems them as a whole. The
challenge for these authors is that their peers are largely reluctant to read their
books as anything but monographs. Because the argument is embedded in
the text, scholars looking for new information or a concise thesis are heading
for frustration.11
Perhaps no contemporary academic scholar better conveys texture through
the juxtaposition of stories rather than explicit argument than Charles
Royster. Yet historians sometimes seem baffled by what to do with his work.
Not only do Royster's books not behave like monographs, their meanings do
not fit into neat categories. What if the Civil War was all about nasty, brutal
violence caused by personal hatreds and irrational, impulsive anger? And
what if a historian refused to tell us that directly but decided to show us, as in
the tale of the young woman in Columbia, South Carolina, who, upon seeing
a captured Union solider in the wake of the destruction of her hometown,
experienced a "wave of hatred." Asked by the guard what to do with him, she
"answered, deliberately: 'Kill him."'12
This general tendency to disdain experiments with form hinges to a
significant extent on the problem of emotion, which, by temperament as well
as training, historians tend to avoid. The rise of the novel in the eighteenth-
century Atlantic World had much to do with interest in the inner lives of
human beings, mainly middle-class women who both populated and read
literature. In many ways, novels were a counterpoint to the male-dominated
public world of politics and history. They dealt with the stuff of ordinary life
and explored the power of emotion and sentiment; then as now, their glory
lay in the details and the characters. As literature developed, it became in its
modem form even more obsessed with private worlds, to the point that
people in the works of Virginia Woolf, James Joyce, and William Faulkner
scarcely seem to exist outside their own minds, and time and narrative are
nothing more than constructs designed to torment and confuse both charac-
ters and readers.
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
336 REVIEWS IN AMERICAN HISTORY / SEPTEMBER 2003
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
CAYTON / Sense and Sensibility in Writing Nineteenth-Century History 337
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
338 REVIEWS IN AMERICAN HISTORY / SEPTEMBER 2003
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
CAYTON / Sense and Sensibility in Writing Nineteenth-Century History 339
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
340 REVIEWS IN AMERICAN HISTORY / SEPTEMBER 2003
1. Ellen Bryant Voigt, Kyrie: Poems (1995), 73. See Voigt, "Kyrie," in Introspections: American
Poets on One of Their Own Poems, ed. Robert Pack and Jay Parini (1997), 295-8.
2. Because this essay originated in years of conversations with Mary Kupiec Cayton, Fred
Anderson, Renee Baernstein, Carolyn Goffman, Dan Goffman, Matthew Gordon, Susan
Gray, Irene Kleiman, Sue Jennings, Marj Nadler, Steve Norris, Michael O'Brien, and
Fredrika Teute, among others, much of what follows no doubt paraphrases or misrepresents
their ideas. It was while listening to Ellen Bryant Voigt and reading her poetry, as well as her
essays collected in The Flexible Lyric (1999), that I finally understood what I wanted to say.
3. Thomas Mallon, Henry and Clara (1994), 357. On the dangers of novels as history, see
Peter Gay, Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks (2002). On the dangers
of the personal, see Sean Wilentz, "Freedom and Feelings," The New Republic, April 7, 2003,
pp. 25-32.
4. Mark Carnes, "Introduction," in Novel History: Historians and Novelists Confront America's
Past (and Each Other), ed. Carnes (2001), 24. See Gore Vidal, Burr, A Novel (1973), 429; Patrick
O'Brien, Master and Commander (1990), 5-6; and Ian McEwan, Atonement, A Novel (2002).
5. A. S. Byatt, Possession, A Romance (1990), 552.
6. See Patrick McGrath, Asylum (1997) and Martha Peake, A Novel of the Revolution (2000);
Charles Palliser, The Quincunx (1989), Betrayals, A Novel (1994), and The Unburied (1999); lain
Pears, A Instance of the Fingerpost (1998); and Sarah Waters, Fingersmith (2002).
7. Michael Shaara, The Killer Angels (1974 ), xiii.
8. Ibid, 344-45.
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms
CAYTON / Sense and Sensibility in Writing Nineteenth-Century History 341
9. See Peter Burke, "History of Events and the Revival of Narrative," in New Perspectives on
Historical Writing, ed. Peter Burke (1991), 233-48; William Cronon, "A Place for Stories:
Nature, History, and Narrative," Journal of American History 78 (1992): 1347-76; Fred
Anderson and Andrew R. L. Cayton, "The Problem of Fragmentation and the Prospects for
Synthesis in Early American Social History," William and Mary Quarterly, 3d ser., 50 (1993):
299-310; and Joyce Appleby, Lynn Hunt, and Margaret Jacob, Telling the Truth About History
(1994).
10. Erik Larson, The Devil in the White City: Murder, Magic, and Madness at the Fair That
Changed America (2003), 36, 35.
11. Ayers, The Promise of the New South: Life After Reconstruction (1992), ix. On a historian
who experimented with form, see Simon Schama, Dead Certainties: Unwarranted Speculations
(1991).
12. Charles Royster, The Destructive War: William Tecumseh Sherman, Stonewall Jackson, and
the Americans (1991), 33. See also Royster, The Fabulous History of the Dismal Swamp Company:
A Story of George Washington's Times (1999).
13. See the enlightening exchange between Paul Boyer and John Updike on Updike's take
on the mid-twentieth-century life of the academic American historian in Memories of the Ford
Administration, A Novel (1992), in Novel History, ed. Carnes, 45-60.
14. Russell Banks, "In Response to James McPherson's Reading of Cloudsplitter," in Novel
History, ed. Carnes, 74.
15. Charles Frazier, Cold Mountain, A Novel (1997), 343, 344, 346. Pauline Jiles covers
similar territory in Enemy Women (2002). On Frazier's lack of interest in historians' great
themes, see Frazier, "Some Remarks on History and Fiction," in Novel History, ed. Carnes,
311-5.
16. Toni Morrison, Beloved, A Novel (1987), 73, 42.
17. Russell Banks, Cloudsplitter, A Novel (1999), 314.
18. Ibid., 73, 247, 417, 549.
19. Ibid., 605, 606, 640, 607, 608.
20. Ibid., 673, 674.
This content downloaded from 192.245.60.241 on Thu, 06 Jul 2017 00:07:55 UTC
All use subject to http://about.jstor.org/terms