Memory  /  Comment

The Fog of History Wars

Old feuds remind us that history is continually revised, driven by new evidence and present-day imperatives.

Once again, Americans find themselves at war over their history—what it is, who owns it, how it should be interpreted and taught. In April, the Department of Education called for a renewed stress, in the classroom, on the “unbearable human costs of systemic racism” and the “consequences of slavery.” In response, Senate Minority Leader Mitch McConnell issued a formal letter, demanding more “patriotism” in history and calling the Democrats’ plan “divisive nonsense.” Like all great questions of national memory, the latest history war has to play out in politics, whether we like it or not. This is especially true as we limp, wounded, from the battlefields of the Trump era, when facts were nearly rendered irrelevant.

History wars follow patterns. The subjects at their core usually carry visceral meaning for large swaths of the public. The disputes quickly invoke curricula, creeping into school boards and state legislatures with increasing stakes. The combatants then employ a kind of existential rhetoric, with all sides declaring surrender unacceptable. Political teams are chosen, and the media both fuels and thrives on the contestation. Authorities, whether in academia, libraries, or museums, try to fight for up-to-date research and interpretation. The politics of knowledge and the emotional attachments to country threaten to sweep up nearly all before them. Finally, someone declares victory, whether by creating or removing a monument, cancelling or curating an exhibit, or writing a book about a triumph of historical engagement. “Good” history can be both a result and a casualty of these wars.

Some of these battles never quite end. (The endurance of the Lost Cause ideology, which argues that the South fought not for slavery but for sovereignty, is one example.) But the broader problem is that, in the realm of public history, no settled law governs. Should the discipline forge effective citizens? Should it be a source of patriotism? Should it thrive on analysis and argument, or be an art that emotionally moves us? Should it seek to understand a whole society, or be content to uncover that society’s myriad parts? The answer to all of these questions is essentially yes. But this is where the history wars, old and new, merely begin. We call them wars because they matter; nations have risen and fallen on the success of their stories.