Although historical research undertaken in different disciplines often requires speculation and imagination, it remains relatively rare for scholars to foreground these processes explicitly as a knowing method. Historical Research, Creative Writing, and the Past brings together researchers in a wide array of disciplines, including literary studies and history, ethnography, design, film, and sound studies, who employ imagination, creativity, or fiction in their own historical scholarship or who analyze the use of imagination, creativity, or fiction to make historical claims by others. This volume is organized into four topical sections related to representations of the past—textual and conceptual approaches; material and emotional approaches; speculative and experiential approaches; and embodied methodologies—and covers a variety of temporal periods and geographical contexts. Reflecting on the methodological, theoretical, and ethical underpinnings of writing history creatively or speculatively, the essays situate themselves within current debates over epistemology and interdisciplinarity. They yield new insights into historical research methods, including archival investigations and source criticisms, while offering readers tangible examples of how to do history differently.

The essential handbook for doing historical research in the twenty-first century The Princeton Guide to Historical Research provides students, scholars, and professionals with the skills they need to practice the historian's craft in the digital age, while never losing sight of the fundamental values and techniques that have defined historical scholarship for centuries. Zachary Schrag begins by explaining how to ask good questions and then guides readers step-by-step through all phases of historical research, from narrowing a topic and locating sources to taking notes, crafting a narrative, and connecting one's work to existing scholarship. He shows how researchers extract knowledge from the widest range of sources, such as government documents, newspapers, unpublished manuscripts, images, interviews, and datasets. He demonstrates how to use archives and libraries, read sources critically, present claims supported by evidence, tell compelling stories, and much more. Featuring a wealth of examples that illustrate the methods used by seasoned experts, The Princeton Guide to Historical Research reveals that, however varied the subject matter and sources, historians share basic tools in the quest to understand people and the choices they made. Offers practical step-by-step guidance on how to do historical research, taking readers from initial questions to final publication Connects new digital technologies to the traditional skills of the historian Draws on hundreds of examples from a broad range of historical topics and approaches Shares tips for researchers at every skill level

Creative Writing and Art History considers the ways in which the writing of art history intersects with creative writing. Essays range from the analysis of historical examples of art historical writing that have a creative element to examinations of contemporary modes of creative writing about art. Considers the ways in which the writing of art history intersects with creative writing Covers a diverse subject matter, from late Neolithic stone circles to the writing of a sentence by Flaubert The collection both contains essays that survey the topic as well as more specialist articles Brings together specialist contributors from both sides of the Atlantic

From an impressive sisterhood of YA writers comes an edge-of-your-seat anthology of historical fiction and fantasy featuring a diverse array of daring heroines. Crisscross America — on dogsleds and ships, stagecoaches and trains — from pirate ships off the coast of the Carolinas to the peace, love, and protests of 1960s Chicago. Join fifteen of today’s most talented writers of young adult literature on a thrill ride through history with American girls charting their own course. They are monsters and mediums, bodyguards and barkeeps, screenwriters and schoolteachers, heiresses and hobos. They're making their own way in often-hostile lands, using every weapon in their arsenals, facing down murderers and marriage proposals. And they all have a story to tell. With stories by: J. Anderson Coats Andrea Cremer Y. S. Lee Katherine Longshore Marie Lu Kekla Magoon Marissa Meyer Saundra Mitchell Beth Revis Caroline Richmond Lindsay Smith Jessica Spotswood Robin Talley Leslye Walton Elizabeth Wein

Blue Honor tracks four tightly twining families during the American Civil War. Each member is asked to sacrifice more than their share to see friends and loved ones through the terrible times. The only certainty they have is that nothing will be the same. Emily Conrad is the bookish daughter of a wealthy dairy family from Vermont. Her indulgent father has educated her and bred ideas that aren't acceptable to her more urbane mother, who thinks Emily needs to settle down with her longtime friend and town philanderer Evan Howell. The outbreak of war frees Emily from these expectations for a time, but a stranger soon arrives after the guns begin to blaze, threatening her plans more than societal conventions ever could. Devoted to the young woman who healed her wounds, Henrietta has become part of the Conrad family, hoping that she may one day see her husband and son again. As a runaway slave, she's been lucky enough to find this slice of peace in Vermont, but the return of Evan Howell and the man he brings with him portends great change that might see her locked back in irons, if not executed for what she's done. Evan isn't as bad as his reputation has made him out to be. He knows his chum Emily will make the best doctor Vermont has ever seen, and he knows he's not the man to marry her. With a little manipulation, he convinces his commanding officer, Lieutenant Joseph Maynard, to take leave with him and see the beauty of the north. He just doesn't let on it's not hillsides and streams he's setting the man up for. Joseph has both power and privilege as the son of a Baltimore lawyer, but neither can guarantee him the things he wants in life. His commission in the army is likely to lead to death, a sacrifice he was willing to make to end slavery in the States-that was until he saw Emily Conrad. Torn between duty and desire, Joseph struggles to stay standing for that which he once held strong convictions. War weary, they all march on to duty...

In 1904, New York nuns brought forty Irish orphans to a remote Arizona mining camp, to be placed with Catholic families. The Catholic families were Mexican, as was the majority of the population. Soon the town's Anglos, furious at this "interracial" transgression, formed a vigilante squad that kidnapped the children and nearly lynched the nuns and the local priest. The Catholic Church sued to get its wards back, but all the courts, including the U.S. Supreme Court, ruled in favor of the vigilantes. The Great Arizona Orphan Abduction tells this disturbing and dramatic tale to illuminate the creation of racial boundaries along the Mexican border. Clifton/Morenci, Arizona, was a "wild West" boomtown, where the mines and smelters pulled in thousands of Mexican immigrant workers. Racial walls hardened as the mines became big business and whiteness became a marker of superiority. These already volatile race and class relations produced passions that erupted in the "orphan incident." To the Anglos of Clifton/Morenci, placing a white child with a Mexican family was tantamount to child abuse, and they saw their kidnapping as a rescue. Women initiated both sides of this confrontation. Mexican women agreed to take in these orphans, both serving their church and asserting a maternal prerogative; Anglo women believed they had to "save" the orphans, and they organized a vigilante squad to do it. In retelling this nearly forgotten piece of American history, Linda Gordon brilliantly recreates and dissects the tangled intersection of family and racial values, in a gripping story that resonates with today's conflicts over the "best interests of the child."

Bailyn, a professor at Harvard and winner of the Pulitzer Prize, writes of the impossibility of teaching history without bias, and that history itself is constantly open to new interpretations and viewpoints.