Vital narratives - Narrative Intelligence - page 104

history, I am also highlighting the importance of historical methods as part of
any history curriculum. What are the kinds and classes of evidence? What is a
primary source? What forces are at work “behind the scenes”? What are the key
points of view? How is historical fiction different from historical “fact”? How
do we assess truth value? Why should I learn about history?
By incorporating primary materials like personal stories and oral histories,
students of history can experience a greater sense of relationship with the mate-
rials and their authors. Through empathy and the engagement of point of view,
personal relevance can also be enhanced. Despite our best efforts, the useful-
ness of history as informing the exercise of citizenship (strategy and outcomes)
may not increase greatly without changes in other disciplines (e.g., journalism
and political narratives). By admitting of a diversity of points of view while also
reporting the known facts of history, its truth value is actually enhanced. Teens
in particular perceive the examination of multiple points of view as more “fair”
than their erasure.
At the end of the day, young citizens should be able to question pop-culture
representations of history as well as journalistic reports. A quick review of how
“war movies” have changed from the days of “With a Wing and a Prayer” to
“Blackhawk Down” would provide an excellent lesson in this regard. It is the
citizen (or student) who must judge the import and truth value of representa-
tions of history and decide whether and how to use it in work, personal beliefs
or philosophy, and the exercise of citizenship.
Journalistic narratives
Recently, the Wa l l St re e t Jour na l changed its look to incorporate more color,
giving the stodgy old paper something of a pop-culture facelift. But I suspect
that the authority or truth value of the paper has been undermined for its most
loyal readers. The designs of such venerable papers as Wa l l St re e t Jour na l and
the New York Times have become emblematic of a certain truth value and jour-
nalistic standards. By contrast, USA Today , close to becoming the most widely
read paper in the world, has always had a design style that borrowed from
tabloids. Its “news” colorfully skims the top layer of “what's going on.” It re-
ports events, emotional moments, and pop-cultural phenomena. USA Today
is not deep. Rather than journalistic exploration, it provides the reader with a
snapshot of the state of the world - one that is highly colored, not only by its
style, but by its pro-American bias.