Pop Press, Historical Biases, and the Straw Man of Politics

What is historical bias? As I dove deeper into my historical training, it became the elephant in the room of every class discussion and the turf monster of every thesis. It is where worldview intersects with historical interpretation and constructs an invisible wall between historical accuracy and interpretation in our present.

Even with firsthand accounts or eyewitness testimony of events, personal bias, and interpretation passively or actively weave themselves into the evidence. It is inescapable.

Something that I’ve gleaned, with a better understanding of, has been from listening to Biblical scholars meditate through the Greek and Hebrew translations of the Bible aka primary sources. It is truly an extraordinary work to ponder accounts from the past and sift through the biases we have as moderns to catch a fleeting moment of connection with the past filled with as deep of empathy for their pov as we can.

It is fleeting because the easier and more common way we interact with history is through quick and heavily biased source material.

A thesis-first and evidence-second approach, instead of first studying the evidence and letting it reveal the thesis is how we as humans prefer to communicate. But what we will gain if we let the text talk to us. Letting the text speak is similar to the Socratic method except instead of a conversation with people, you let the sources speak.

This does not translate well to our current pace of consuming information. It is slow and requires patience to study and understand the matter at hand from many angles. Therefore the “pop press” way of disseminating information, like the History Channel so often uses, rises from the ashes once again to the far reaches of TikTok, Instagram, and YouTube.

This is not to say that only bad history or bad thesis drafting is a product of social media. I’ve learned wonderful details about a vast array of histories, fashion, language, and culture through these social platforms that I couldn’t have had access to at college, because the experts didn’t exist. Dress History wasn’t even a widely accepted specialty during my time in college. Social Media has provided a platform for niche history lovers to share their passion with a new audience. Social Media also provides a salon of discussion to debunk myths or provide deeper context to a subject that was given the “pop press” treatment.

So why am I writing about this today? I was watching a video from a creator who used to be a fantastic source of fashion and film content, a 2000s historian of girlhood with insightful and researched evidence that let the text speak. The original work was so high caliber that this current slump into heavily biased “historical” fashion videos and content that is just politics loosely veiled as film or fashion-focused, has been a great disappointment to me. The creator is so talented, and to see them be swayed by forces that are in our culture is sad.

Not only a disappointment, but it has shown me how important it is to stay committed to awareness of historical biases and the humble acknowledgment that we can’t talk in absolutes when it comes to interpretation. We have to be open to exploring the sources from many points of view and not let ourselves be mouthpieces of modernity, with the clever out of “victors write history” so what is the point of going deeper.

Victors certainly change history and can try to control its narrative, but history is the story of humanity and is bigger than one group’s manipulation.

For example, in my wheelhouse, I am the descendant of Irish immigrants who were potato farmers in Cork. The Potato Famine was discussed historically as just a blight. Bad luck. Not a big deal. Oh well. The crisis was met with such apathy that Irish clergyman Jonathan Swift, wrote “A Modest Proposal” to draw attention to the British attitude towards the Irish was not unlike the absurdity of his proposal.

But now, we know that this event can be classified as a genocide because the British colonized Ireland for centuries. There was enough food in Ireland until the British stole it and imported it out of their colony of Ireland. The “victors” affect history but their version is not the guaranteed final version forever. They inflict death and destruction but this will not stay in the shadows forever, the light is greater than the dark.

My point is that this summation, “The victors write history” is paltry.

So what started this ramble of historical bias?

A video essay about the history of the Goth aesthetic which had random political bias inserted as fact and a lack of nuance to the conclusions based on a clearly preconceived thesis where evidence was cherry-picked to fill out a video that wasn’t really about Goth style. It was about our Nov 5, 2024 election and unnecessarily put a lot of negativity out into the world instead of talking about the Goth aesthetic.

I believe it’s time that we as a society stop stirring up dissension and casual hate in the name of the political savior. These candidates never save anything. They try their best but they are just humans. Is it worth hating an entire group of people because they hold different views? Never.

No human is perfect, so how can human government create a perfect society? It’s a straw man.

I hope in time, the strong political biases I see swaying storytelling in my culture will sour. Instead, I hope an appetite for deep discussion to understand each side of the coin will spring forth. For truth, for the sake of truth, warts and all. For deeper connection. To understand what people believe and why they believe, with mutual respect, and respect for the biases we hold so that we don’t let our biases keep us from true understanding and continue to fertilize this culture of casual hate I am seeing in 2024.

I hope this post is not too convoluted. I wanted to discuss this without saying what creator I am referring to because it is not them I want to critique but the fallacy they have fallen under and the way they are approaching history, politics, and interpretation of these things without the awareness of their personal bias. It’s creating foolish and unuseful content that reads more as pop press propaganda than well-researched discussion, which is what I think they excel at doing. I believe they are amazing and I want to see their talent shine once again!

Bias is such a difficult thing to wrestle with and I acknowledge that no matter how I tried to check mine at the door, it still persists. I try to hold it loosely and pursue the truth, but I am an imperfect human. 

Thank you, reader, for being here and I hope this was an interesting ramble if nothing else. If I have offended you, I humbly ask for your grace and willingness to love others – enemy or friend, because that is how we will make this world a better place.

Ancient Irish Calendar

An important part of the world I desired to create in my novel Udal Cuain was a sense of place. Since I chose to set my story in Early Medieval Ireland, also known as Viking Age Ireland, I strove to create a world that didn’t feel like our modern age but instead steeped in a culture unlike the modern North American one I know as familiar. A simple way I found to create this complete world was to research and incorporate the Ancient Irish calendar of months. The structure of this calendar looked a little something like this:

Geimhreadh (Winter)

Samhain (November), Nollaig (December), Eanair (January)

With Samhain celebrated the night between the last day of fall and winter, signifiying a new year.
Later on in Nollaig the Winter Solstice was celebrated.

Earrach (Spring)

Feabhra (February), Marta (March), Aibrean (April)

With the festival of Imbolc, for fertility and planting, celebrated at the start of Feabhra.
The Spring Equinox was recognized in Marta.

Samhradh (Summer)

Bealtaine (May), Meitheamh (June), Iuil (July)

With the festival of May Day being celebrated on the first day of Bealtaine.
Summer Solstice recognized during Meitheamh at New Grange

Fomhar (Fall/Harvest)

Lunasa (August), Mean Fomhair (September),
Deireadh Fomhair (October)

The Lunasa festival being celebrated at the start of the harvest.
At the end of Deireadh Fomhair, Samhain night signified the end of the year.

Already this calendar has a different rhythm than our own, with the months with each season divided one month earlier than we do now. It is a calendar that reflects the agricultural tempo of the ancient Irish society and helped the Viking Age world I was writing about feeling like it had structure. These months are unique, based on a lunar structure with names that correspond to what’s going on within the season compared to the Gregorian calendar, our modern system, which is mathematical and accounts for the passage of time the Earth takes to orbit the Sun. Understanding how and why we use things is important to consider when creating a new world or awakening an ancient world within a story.

The people who created this Irish calendar understood the passage of time in a different, yet similar way to what we understand it. We have religious and cultural festivals, recognize four seasons, and even celebrate Halloween to this day. So there is common ground, and you will find your own common ground in your projects if you choose to add a calendar to your fiction world-building!

Passage of Time

I provided source materials to bring this structure into the story in a natural way, there was a separate section devoted to this calendar like an appendix to a book. Because of how complex the Gaelic language is, having the visible calendar to reference with the names corresponding with their meaning helped me keep it straight as I wrote and added a nice layer to the story, a touch point the characters could reference naturally in dialogue yet the reader could have the knowledge to understand the meaning behind these sometimes foreign words. I enjoy little details like that.

I think it’s why I enjoy Harry Potter, Avatar the Last Airbender, Star Wars, etc. I like to lose myself in a story and wander far into the world, a calendar is that little extra punch that pulls me in even more to a time and place. So when I was writing a character I fancied the idea of being able to think about that character’s understanding of time.

  • What were they looking forward to?
  • What would signify change or normalcy in that character’s life?
  • How could I take the research of Viking Age Ireland and synthesize it into a story that would feel tangible?

I came back to the passage of time and by illustrating that in the story with these seasons, sprinkling little details of the season, the weather, the natural processes that come with winter, planting, harvest, summer sunshine, and all the ways we as humans make sense of that.

Cultural Significance

Holidays and festivals are key to our lives, and so were they for the historical world I was reimagining. They are connection points for characters. Opportunities to naturally move the story forward with action sequences, unexpected plot twists, or just an excuse to bring all your characters together in one scene that is plausible. It provides a way to understand the world from different perspectives and how these characters view their customs and cultures. Generationally, characters may see these moments differently. Introverts and extroverts will experience the spectacle and parties in their own fashion.

With Udal Cuain, Samhain played a big role in framing the year because of how culturally significant this festival was to Ancient Irish culture. They literally believed the separation between the living and dead grew thin on this night, if their deities were not pleased bad spirits would come to harm and the world may cease to exist the next day. It was not just a night of spooky characters, it was a serious event, and as humans, it explores our own feelings of fragility in the greater universe. Mortals versus immortal forces. This is a fantastic source of natural tension in a story, and as the dead could come back to visit their loved ones it brought a source of mystery to the story.

Two main characters, former Chieftain Conn, and Princess of Inis Aran, Caoimhe were deceased by mysterious and suspicious means in Udal Cuain, but one Samhain they each came back, one to haunt and one to heal. It was a blast to write and I highly recommend playing around with a structure like this in your own unique way.

I hope this dive back into the world of Udal Cuain and the research I did to create this novel, serves to inspire you. Even as I write this, I feel an itch to get back into fiction writing. It is such a challenging yet rewarding art form, and so necessary to our human hearts. Stories make us who we are. Dear reader, thanks for taking time with me today. I wish you all the best.

#6- Novel Writing Novice

Udal Cuain was my first novel. It combined three years of research into a long novel that took two and a half years of devoted world-building to create a complex story set in Viking-age Ireland. This world had maps, multiple kingdoms, Old Norse and Ancient Irish culture, and thirty characters to keep straight. It was an amazing mess to make sense of, all while pushing my non-fiction background into the world of imagination!

What did this project teach me?

Carrying a notebook with me was a game changer for my creatively scattered brain, but when the mood struck I had that little notebook at the ready to jot down anything that came to mind. I learned that my brain is okay with working in a non-linear structure, even with plot planning and note organization. I was fine with having a stream of consciousness on the page to reference, all while flipping through my notebook to find that one detail I needed to pull a scene together. In doing so, I would take notes in a way that sometimes repeated previous messages but built upon them so therefore when I began to write a chapter I had a headstart on the flow of the story. This process worked well for me. Now, I don’t imagine it would work well for organized people, so don’t use this as a template, instead find a notetaking system that is in symbiosis with your mind to enhance your creativity. It really works!

The Visual

A huge source of inspiration for me was Pinterest. When I had an idea for a character or location, I would search for inspirational images of character visuals.

  • Character physical traits
  • Costuming and accessories
  • Setting images based on the environment I had in my head
  • Castles, boats, battle scenes
  • Stylized images of a detail – waves crashing, blood dripping, a bird flying, fire

When I was feeling stuck, Pinterest pulled me back into the scene and the ideas would flow onto the page. The photos and artwork shared within that platform truly inspire creativity, like a scrolling mood board. It was one of the driving forces for what Udal Cuain became, in good ways and bad, but more on that later on.

To the Library

What ultimately keeps the process going though, is research. This may seem like a no-brainer, or this may seem bizarre depending on what type of writing you are thinking about making. Even in the case of a pure fantasy tale, the world can still draw inspiration from what we see in the world we live in. By taking the time to research, there was more of a harvest when it came to transforming ideas into storytelling. In some ways, the historical discipline I learned in college, I believe is better categorized as a skill of creativity than a cut-and-dry practice, because those muscles of interpretation can be applied to the art of storytelling.

By gathering that pantry of details, I learned to think ahead of where the current story was and become acquainted with where we were headed. I researched the world of Ireland in the early medieval period along with Norse history during that time to understand what the aesthetic was and how people in a look-alike world could have functioned to give my characters a rooted flair. I dug into language – Ogham, Gaelic, and Old Norse to understand the culture deeper. I researched clothing, weapons, religions, warfare, house-building techniques, tools, technology, cooking, sports, festivals, farming, etc. It was an involved process.

The Familiar

I chose this type of setting because it was what I was familiar with. I studied Irish History in depth in college and at home, my heritage comes from this part of the world and so getting to know my ancestors brought incredible purpose to this project. I think that is ultimately what I appreciate with deep sweetness looking back on what is essentially a failed project, it connected me when I felt disconnected. Finding a world, a plot for your tale, or even a character type that pulls you into a familiar place I would say based on my own experience is a fantastic way to dive into world-building. Go forth and create with confidence because the world needs storytellers as unique as you.

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