It is indeed a delicate task to work with evidentiary sources as well as the imagination to interpret the past, but I would argue that historians do this all the time. We always bring our creative mental faculties to bear when reconstructing the past. We draw inferences from sources, speculate about cause and effect, and envision times and places that we can never experience directly. Some scholars (and I count myself among them!) enjoy the challenge of pushing this process further to write history in intentionally narrative ways and even to write fiction based on historical knowledge and primary sources.
American historian
(born 17 January 1970) is an American historian. She is Michael Garvey Professor of History at Harvard University and Radcliffe Alumnae Professor at the Radcliffe Institute for Advanced Study. She is a public historian, academic historian, and creative writer whose work explores the intersections of African American, Native American and women's histories.
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Tiya Alicia Miles
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During my research on ghost tours in the South that included slavery as a theme, I found that many of these tours had characteristics in common, such as the romanticization of relationships between enslavers and the enslaved, the diminishment of the sexual abuse that enslaved Black women endured, a gratuitous focus on violence, an exoticization of Black faith traditions, and a demonization of white women. I would say that if tourists hear narratives about slavery that sound too easy-going to be true or too grotesque to be respectful of people’s lived experience, they are probably listening to exaggerated or fabricated narratives crafted to increase revenue rather than to educate the public.