Dangerous Games

by MACMILLAN, MARGARET

• ISBN13: 9780679643586
• ISBN10: 0679643583
• Format: Hardcover
• Copyright: 2009-07-07
• Publisher: Modern Library

Summary

Margaret MacMillan, an acclaimed historian and "great storyteller" (The New York Review of Books), explores here the many ways in which history-- its values and dangers-- affects us all, including how it is used and abused. The New York Times bestselling author of Paris 1919 and Nixon and Mao reveals how a deeper engagement with history in our private lives and, more important, in the sphere of public debate can guide us to a richer, more enlightened existence, as individuals and nations. Alive with incident and figures both great and infamous, including Robespierre, Adolf Hitler, Winston Churchill, Mao Zedong, Karl Marx, Henry Kissinger, Bill Clinton, Tony Blair, and George W. Bush, Dangerous Games explores why it is important to treat history with care. History is used to justify religious movements and political campaigns alike. The manipulation of history is increasingly pervasive in today's world. Dictators may suppress history because it undermines their ideas, agendas, or claims to absolute authority. Nationalists may tell false, one-sided, or misleading stories about the past. Political leaders might mobilize their people by telling lies. Adolf Hitler, for instance, blamed the Jews for Germany's humiliation at Versailles and its defeat in World War I. It is imperative that we have an understanding of the past and avoid the all-too-common traps in thinking to which many fall prey-- as MacMillan skillfully illuminates. This brilliantly reasoned work will compel us to examine history anew, including our own understanding of it, and our own closely held beliefs. From the Hardcover edition.

Author Biography

MARGARET MacMILLAN received her Ph.D. from Oxford University. She is a professor of history at Oxford University and the University of Toronto, and warden of St. Anthony’s College, Oxford. Her books include Nixon and Mao, Women of the Raj, and Paris 1919, which won numerous awards, in addition to being a New York Times Editor’s Choice in 2002. She lives in Toronto and Oxford.

Excerpts

Chapter One


The History Craze

History, and not necessarily the sort that professional historians are doing, is widely popular these days, even in North America, where we have tended to look toward the future rather than the past. It can be partly explained by market forces. People are better educated and, particularly in the mature economies, have more leisure time and are retiring from work earlier. Not everyone wants to retire to a compound in the sun and ride adult tricycles for amusement. History can be helpful in making sense of the world we live in. It can also be fascinating, even fun. How can even the best novelist or playwright invent someone like Augustus Caesar or Catherine the Great, Galileo or Florence Nightingale? How can screenwriters create better action stories or human dramas than exist, thousand upon thousand, throughout the many centuries of recorded history? There is a thirst out there both for knowledge and to be entertained, and the market has responded with enthusiasm.

Museums and art galleries mount huge shows around historical characters like Peter the Great or on specific periods in history. Around the world, new museums open every year to commemorate moments, often grim ones, from the past. China has museums devoted to Japanese atrocities committed during World War II. Washington, Jerusalem, and Montreal have Holocaust museums. Television has channels devoted entirely to history (often, it must be said, showing a past that seems to be made up largely of battles and the biographies of generals); historic sites are wilting under the tramp of tourists; history movies—think of all the recent ones on Queen Elizabeth I alone—are making money; and the proliferation of popular histories shows that publishers have a good idea of where profits are to be made. Ken Burns’s documentaries, from the classic Civil War series to his one on World War II, are aired repeatedly. In Canada, Mark Starowicz’s People’s History drew millions of viewers. The Historica Minutes produced by the private foundation Historica, devoted to promoting Canadian history, are so popular among Canadian teenagers that they often do school projects where they make their own minutes. In the United Kingdom, David Starkey’s series on British monarchs have made him rich and as famous as the kings and queens themselves.

Many governments now have special departments devoted to commemorating the past—or, as it is often grandly designated, “heritage.” In Canada, the Department of Canadian Heritage exhorts Canadians to learn about Canada’s history, culture, and land: “Heritage is our collective treasure, given to us and ours to bequeath to our children.” The term can encompass virtually anything: language, folk dances, recipes, antiques, paintings, customs, buildings. There are societies to celebrate antique cars or guns, baseball cards or matchboxes. In England, a young architect has founded the Chimneypot Preservation and Protection Society to save, as its mission decrees, “the Sentinels of Time.”

France, which has had a particularly active Ministry of Culture for decades, declared 1980 the Année du Patrimoine. Locals dressed up to reenact the great moments of their history. In the following years, the number of heritage sites and monuments on the official list doubled. Scores of new museums—devoted to the wooden shoe, for example, or the chestnut forest—appeared. At the end of the decade, the government set up a special commission to oversee the commemoration of the two-hundredth anniversary of the French Revolution in 1989.

In France there has been an explosion of reenactments of the past, festivals, and special months, weeks, and days. The possibilities, of course, are endless: the starts and ends of wars, the births and deaths of famous people, the first publication of a book or the first perf

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Excerpted from Dangerous Games: The Uses and Abuses of History by Margaret MacMillan
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