Practicing History_ Selected Essays - Barbara W. Tuchman [9]
As to the mechanics of research, I take notes on four-by-six index cards, reminding myself about once an hour of a rule I read long ago in a research manual, “Never write on the back of anything.” Since copying is a chore and a bore, use of the cards, the smaller the better, forces one to extract the strictly relevant, to distill from the very beginning, to pass the material through the grinder of one’s own mind, so to speak. Eventually, as the cards fall into groups according to subject or person or chronological sequence, the pattern of my story will emerge. Besides, they are convenient, as they can be filed in a shoebox and carried around in a pocketbook. When ready to write I need only take along a packet of them, representing a chapter, and I am equipped to work anywhere; whereas if one writes surrounded by a pile of books, one is tied to a single place, and furthermore likely to be too much influenced by other authors.
The most important thing about research is to know when to stop. How does one recognize the moment? When I was eighteen or thereabouts, my mother told me that when out with a young man I should always leave a half-hour before I wanted to. Although I was not sure how this might be accomplished, I recognized the advice as sound, and exactly the same rule applies to research. One must stop before one has finished; otherwise, one will never stop and never finish. I had an object lesson in this once in Washington at the Archives. I was looking for documents in the case of Perdicaris, an American—or supposed American—who was captured by Moroccan brigands in 1904.* The Archives people introduced me to a lady professor who had been doing research in United States relations with Morocco all her life. She had written her Ph.D. thesis on the subject back in, I think, 1936, and was still coming for six months each year to work in the Archives. She was in her seventies and, they told me, had recently suffered a heart attack. When I asked her what year was her cut-off point, she looked at me in surprise and said she kept a file of newspaper clippings right up to the moment. I am sure she knew more about United States–Moroccan relations than anyone alive, but would she ever leave off her research in time to write that definitive history and tell the world what she knew? I feared the answer. Yet I know how she felt. I too feel compelled to follow every lead and learn everything about a subject, but fortunately I have an even more overwhelming compulsion to see my work in print. That is the only thing that saves me.
Research is endlessly seductive; writing is hard work. One has to sit down on that chair and think and transform thought into readable, conservative, interesting sentences that both make sense and make the reader turn the page. It is laborious, slow, often painful, sometimes agony. It means rearrangement, revision, adding, cutting, rewriting. But it brings a sense of excitement, almost of rapture; a moment on Olympus. In short, it is an act of creation.
I had of course a tremendous head start in having for The Guns of August a spectacular subject. The first month of the First World War, as Winston Churchill said, was “a drama never surpassed.” It has that heroic quality that lifts the subject above the petty and that is necessary to great tragedy. In the month of August 1914 there was something looming, inescapable, universal, that involved us all. Something in that awful gulf between perfect plans and fallible men that makes one tremble with a sense of “There but for the Grace of God go we.”
It was not until the end, until I was actually writing the Epilogue, that I fully realized all the implications of the story I had been writing for two years. Then I began to feel I had not done it justice. But now it was too late to go back and put in the significance, like the