Oral histories are one of the more
prominent recent journalistic trends. In that spirit, we decided to
present you, the reader, with the oral history of this article that
you are now reading.
Chris
Alarie (Senior Editor-in-Chief of Uncanny Valley
Magazine; author of this
article):
This was actually one of the first articles that I pitched when we
were first discussing ideas for UVM.
Nobody else seemed to be particularly excited about it, though.
Alexis
Faulkner (Executive Editor-in-Chief of Uncanny
Valley Magazine):
I had a few different concerns, with the primary one being that it
didn't seem to be a particularly interesting idea.
Douglas
Slayton (Professor Editor-in-Chief of Uncanny Valley
Magazine):
I just think everything Chris writes is stupid.
Alexis
Faulkner:
I mean, Clickhole
has run a number of hilarious
fake oral histories.1
McSweeney's
ran an “Oral
History of Oral Histories”.
And apparently so did The
Daily,2
which in turn led to a terrible “Oral
History of the Oral History of Oral Histories”
in the Observer.
Douglas
Slayton:
I mean, he's always fucking talking about how much he hates horses.
What is his fucking deal with that?
Chris
Alarie:
I decided to proceed with the article anyway, despite the concerns of
my fellow editors.
Alexis
Faulkner:
Plus, I was pretty sure that the only way he could fill the article
would be to make up a bunch of fake quotes from people whom he has
never even met.
Bill
Simmons (Former Editor-in-Chief of Grantland):
Chris told me about his idea and I thought it was great! During my
time at Grantland,
I made sure we ran as
many oral histories as possible.
Alexis
Faulkner:
Besides, even real oral histories are a pretty lazy, stupid way to
fill space.
Bill
Simmons: No
topic was too insignificant or stupid for us.
Alexis
Faulkner:
I mean, I understand their usefulness in an academic context, where
presenting as many different perspectives on a topic as thoroughly
and objectively as possible is important. But as a form of
journalism, it just seems like either a way to avoid turning
interviews into a real story or just a way to geek out over a topic
not deserving of such attention.
Bill
Simmons:
We literally did an oral history of “The Super Bowl Shuffle”. Who
the fuck needs to read something like that? Nobody! But we did it
anyway, to fulfill the public's lust for oral histories.
Chris
Alarie:
I suggested that I use the piece as a means to examine why the oral
history is such a popular technique. Like, maybe people read them
because it makes them feel like they are being included in some sort
of insider-style explanation of the subject beyond what could
normally be conveyed in a more conventional article—sort of like a
DVD commentary track. Or maybe by presenting so much information in a
relatively direct manner, the oral history flatters the reader's
intelligence by allowing them to feel as if they are synthesizing
complicated information themselves.
Alexis
Faulkner:
He just kept saying, “Oral histories are like DVD commentaries.”
But he refused to elaborate.
Douglas
Slayton:
I mean, he will just fucking shoehorn this paranoid, horse bullshit
into any conversation, whether it makes sense to do so or not.
Alexis
Faulkner:
I literally got about five emails from him that said just that, in
increasingly larger font sizes.
Chris
Alarie:
I think my persistence and sophisticated analysis eventually won them
over because they eventually enthusiastically embraced the idea.
Alexis
Faulkner:
I kept telling him that it was a terrible idea for an article but I
knew it didn't matter. He does whatever the fuck he wants anyway.
He's made a total mockery of our editorial process.
Chris
Alarie:
So I sent Doug and Alexis the first draft of the article—basically
everything up to this point—and they really seemed to like it.
Alexis
Faulkner:
Once it became clear that he was going ahead with the article despite
my objections, I kept asking him to send me an outline or a draft or
something. I wanted to make sure that he wasn't quoting me despite me
explicitly asking him not to.
Chris
Alarie: Alexis
wrote back, “This is great! I think all you need to do is find a
nice, tidy way to wrap things up.”
Alexis
Faulkner:
Or even worse, fabricating quotes from me.
Chris
Alarie:
And Doug just texted back a thumbs up and a surfer emoji.
Douglas
Slayton:
He seriously makes me uncomfortable sometimes.
Chris
Alarie:
All-in-all, I think it has been a successful project and I am excited
to present it to you, the reader.
Douglas
Slayton:
I genuinely worry that it is dangerous for me to continue to
associate myself with such a mentally unstable person.
1 RandBall's Stu's “An Oral History of Nick Punto Sliding Headfirst into First Base” is another excellent example of a fake oral history.↩
2 For whatever reason, all evidence of this particular “Oral History of Oral Histories” seems to have disappeared. I don't want to say that it is the work of the Vast Equine Conspiracy, but I would be remiss if I didn't at least mention the possibility.↩