Liz Covart on "The Art of the Obituary"

I am so glad to have Liz Covart on our team for the 2014 AHA.  Liz’s blog Uncommonplace Book is must reading for independent historians or any historian who wants to develop a writing platform and speak to public audiences.  Yesterday Liz attended a session entitled “Historians, Journalists, and the Challenges of Getting It Right: The Art and Craft of the Obituary.”  Here is her report:

On Thursday January 2, 2014, I attended “Historians, Journalists, and the Challenges of Getting it Right: The Art and Craft of the Obituary.” Sponsored by the National History Center, this roundtable panel included Journalism professor Janice R. Hume (University of Georgia), Adam Bernstein, Editor at The Washington Post, New York Times reporter Adam Clymer, and panel chair, Martin H. Kaplan (University of Southern California). Kaplan posed questions to each panelist and allowed the other panelists to chime in with their thoughts afterwards.

The panel imparted fun and informative information about obituaries, their history, and the ethics involved in writing them.

Janet R. Hume provided historical information and contextualized the panelists’ discussion. Hume wrote the book on early obituaries. Obituaries in American Culture surveys more than 8,000 newspaper obituaries between 1818 and 1930.

According to Hume, obituaries in the eighteenth- and nineteenth-century America reported on the qualities that people admired about the deceased. They tended to be sentimental pieces written by editors who used familial accounts as source information. (Prior to the Civil War newspapers did not have reporters to conduct interviews with people who knew the deceased.) As a result of this source material and a strong Christian influence, early obituaries tended to be overly polite; they tried to fit people into categories that they did not fit into because they wanted to highlight the deceased’s moral goodness.

Hume also remarked on how early American obituaries discussed dying in metaphorical and poetic terms. People did not die. Instead, they were “scathed by the wing of the angel of death.”

Finally, Hume discussed the obituary as a historical source. Early obituaries reflect the cultural resonance of death stories with nineteenth- and twentieth-century Americans. Hume cautioned historians to be careful with how they use obituaries as obituary writers have a cultural filter that they impose on their writing. She also stated that online obituary message boards and comment threads offer scholars a new view on how our contemporaries participate in the bereavement process by interacting with obituaries.

Adam Bernstein discussed the logistics of being a modern-day obituary writer. First and foremost, obituaries are news stories. They impart the news that someone has died and function as an “accountability” story for the life and accomplishments of the deceased.

The Washington Post publishes approximately 2,000 obituaries a year and has about 400 advance obituaries on file. Newspapers keep obituaries on file for the President and other famous and important national and world leaders in case something happens. These advance copies give the obituary reporter a draft that they can quickly update, which in turn helps the writers keep their publications on top of the news cycle.

Bernstein also noted that modern-day newspapers are more egalitarian about who gets an obituary. Prior to the 1980s, a person who read obituaries may have thought that few women and African-Americans died. Newspapers often printed obituaries for white men, but rarely for women and African-Americans.

In contrast with The Washington Post, Adam Clymer noted that The New York Times does not print obituaries for local people and the NYT has approximately 1500 advance obituaries on file. Clymer also discussed the art of interviewing people for an advance obituary. Clymer calls the person and tells them that he is a reporter with The New York Times and that he would like to interview them about the story of their political career. Often his subjects do not realize who he is or what he is writing. Most assume that “it is about time” that The New York Times has called for their story. Some of his interviewees figure out his purpose, but most do not know that they are recording their thoughts and achievements for posterity.

The audience question and answer session started several interesting, brief discussions about the differences between American obituaries and their British counterparts, how obituary writers need to stick to the “public” facts of a person’s life while historians remain free to probe into the personal details of a deceased person’s life, and recognized that poets like Henry Wadsworth Longfellow and Walt Whitman wrote some of the most interesting early obituaries in verse.

Thanks, Liz.  Stay tuned for Liz’s next post on a session on writing history for public audiences.

3 thoughts on “Liz Covart on "The Art of the Obituary"

  1. The realization of Replica Watches the (emblematic of R.M.) tonneau case required many hours of preliminary studies for Fake Rolex Watches the cutting and milling stages. Thus, 86 stamping and strike operations prepare parts for Breitling replica these operations. The machining process begins only after about 50 hours of configuration and programming on all systems, essential prelude to more than 300 separate operations that will follow.


Comments are closed.