Hayden White

White's dense article on narrative discusses the ways that different groups of 20th century historians, particularly historical theorists (see pp.8-9), have constructed and deconstructed narrative as a means of communicating history. White himself acknowledges that narrativity challenges the scientific of history, but suggests that narrativity is not only unavoidable, but also offers a form of literary or allegorical truth.\n\nWhite first discusses the critiques of narrative as a means of communication--it focuses too heavily on political players, it is "unscientific," it is inherently limited because narrative itself cannot be objective (although it's authors sometimes claim it to be).\n\nHe then moves on to discuss other, heavily theoretical, takes on why narrative is still useful as a means of historical communication: that narrative works because it performs as a trope which readers can easily recognize from myth and fiction, or, that narrative works because it allows us to transform events from the present to a synthesized past.\n\nWhite's article is difficult to read, but important background for anyone who wants to see what people have said about narrative in the past 100 years--and why it is still important

It is as if [W. J. T.] Mitchell, who in his stance as a literary theorist is willing to admit of a plurality of equally legitimate critical modes, were unwilling to extend this pluralism to the consideration of history itself. By this I do not mean that he would be unwilling to view the history of criticism as a cacophony or polyphony of contending critical positions, as a never=ending circle of critical viewpoints, with no one of them being able finally to declare itself the winner for all time, but rather that he must feel that this is the only legitimate perspective on that history. Such a perspective on history has a name, and it is historicism—the perspective associated with Ranke and Goethe in Friedrich Meinecke’s great book on this subject, the perspective which, in Erich Auerbach’s Mimesis, is identified with the fate of literary realism in the West. Although the name given to this perspective by Meinecke suggests that it is the historical perspective, contemporary historical theory and practice deny it that claim. In point of fact, if we look at contemporary historical theory and practice, we must admit that there are as many perspectives on history as there are modes of critical practice in literary studies. And this for a very good reason: the referent of the term “history” is as indeterminable, is as much a matter of principled contestation, as the term “literature” itself. So that, if one wished to “correct” certain critical positions by reminding their proponents of the necessity of a proper “sense of history,” it would be just as legitimate to correct the corrector by reminding him that the history of historiography displays the same kind of confusion over the “sense of history” that the history of criticism displays over the “sense of literature.” When Mitchell characterizes the current schism in criticism as another enactment of the quarrel of ancients and moderns, he is surely right; but he fails to note that this reenactment takes place within an atmosphere made more murky by the fact that there is no generally agreed upon “sense of history” to which one can appeal in order to characterize the differences between the two camps. It is not as if the ancients and the moderns agree on some body of fact from which they draw different implications regarding the attitude that one ought to assume vis-à-vis modern as against ancient literature. For what is at issue is not the interpretation of the facts but the nature of historical factuality itself. Hayden White is Presidential Professor of Historical Studies at the University of California, Santa Cruz. His previous contributions to Critical Inquiry are “Historical Interpretation” , “The Narrativization of Real Events” , and “The Value of Narrativity in the Representation of Reality”