Secondary Sources to the Rescue!
There’s a common belief among new nonfiction writers that primary sources are the only way to find absolute facts. Secondary sources are assumed to be inferior, less trustworthy, less valuable.
I beg to differ.
Don’t get me wrong, I get a rush when I find primary sources. As kids in my school visits can attest, I’m downright giddy when I talk about turning the pages of original 19th-century newspapers or scrolling through microfilm. I’ve had palpable reactions while donning white gloves as I perused the crumbling Beautiful Jim Key scrapbooks at the Tennessee State Archives (Step Right Up), or when I found Lincoln’s handwritten letter with his duel terms (Abraham Lincoln’s Dueling Words). For each book’s research, I was reminded that primary sources are not a guarantee of accuracy.
The primary sources I uncovered while researching for King of the Tightrope: When the Great Blondin Ruled Niagara were especially suspect.
When I found the first biography of Jean Francois Gravelet, aka The Great Blondin, published in 1862, I thought I had hit pay dirt. In the preface, the biographer claims that Blondin himself was part of the book’s creation. It was as close to an “as-told-to” account as I could ask for. If Blondin was feeding the author information and approving the content, the book was as good as a primary source. What a gold mine! Or so I thought!
Seems like everything ever written about The Great Blondin originated from this book, either directly or secondarily. I believed every word until I expanded my primary source search and dove into secondary sources with a critical eye. AND, luckily, I successfully tracked down a well-informed descendent of Blondin.
Following are just a few of the many inaccuracies found in the primary sources I turned to:
The 1862 collaborative biography claims that young Jean Francois was accidentally introduced to acrobatics and tightrope-walking when a traveling troupe camped near his French home. He purportedly taught himself the skills of acrobatics and funambulism and was quickly considered a prodigy. His parents sent him to L’Ecole de Gymnase in Lyon—a special school for acrobats. By the age of nine, the biographer states, the future Blondin was orphaned. What a story! An orphan who grows up to be the best in his field. Unfortunately, much of the book was falsified.
My ultimate research revealed that, in truth, Blondin was part of the third acrobatic generation in his family. There was no circus camped near his home. He came to his vocation naturally and was part of his parents’ act even as a toddler. He literally grew up on the rope and on stage. As for the acrobatic school in Lyon—my research revealed no such school—a fact confirmed by Blondin’s great-great-grandson in France.
Later, the biography claims, as an adult sailing to the United States for a two-year acrobatic tour, Blondin proved the only person brave enough and strong enough to dive into the Atlantic during a raging storm to rescue a rich nobleman that had been pitched overboard.
Nope! Not true. According to the ship’s passenger list (another primary source), there was no nobleman. And, since there’s no other record of a storm during this sailing, I must assume the entire episode is an invention.
As for the sad fact about Blondin becoming an orphan at age nine…you guessed it. It was false. Though his father died while Blondin was young, his mother lived into her 50’s, dying while adult Blondin was performing in the U.S.
I’ll never know if Blondin falsified his story for this biography or if the author falsified Blondin’s involvement and simply made stuff up. It was not the only primary source with unreliable information.
In 1859, Blondin carried Harry Colcord, his agent, across the Niagara River on his back, much to the amazement of all who witnessed it. Colcord’s later accounts of his experience, and of Blondin’s process of engineering his ropes, survive as primary sources. Unfortunately, Colcord was quite a storyteller, and he changed his details with each telling. In one interview, he was quoted as saying that sixteen horses powered a windlass on the American side of the Niagara River to stretch Blondin’s rope. I believed it, hook, line, and sinker. Maybe I subconsciously wanted it to be true because of the drama of the scene. Illustrator Adam Gustavson even created a gorgeous spread depicting the equine laborers. Then I discovered that it was false. There were no horses used in the stretching process. Grrr! Poor Adam had to change his illustration.
We cannot assume that primary sources are accurate. Sometimes, the creator has a biased perspective or a limited perspective or, naively, incorrect facts. Sometimes, the source is exaggerated or altogether falsified for dramatic effect.
Newspapers, too, are notoriously inconsistent. You can’t imagine the frustration of finding wildly different reports about the size of Blondin’s walking rope—from 1 1/2″ to 7″ diameter, wide, circumference, thick, around—even the units of measure were inconsistent. And, don’t get me started about the lack of reportage about Blondin’s process of engineering his rope across the gorge. What details do exist are also inconsistent and missing chunks of information. For those missing details, there were no primary sources to refer to.
The best secondary sources result from the distillation and evaluation of information from many sources and different perspectives. While a primary source is like seeing facts through one rigid lens, a good secondary source is like a carefully curated panoramic view.
Had I relied solely on primary sources for King of the Tightrope, I would have invariably perpetuated falsehoods. Thanks to modern experts, engineers, scholarly analysis, and a family connection, I was able to uncover the true story about The Great Blondin and his notable feats at Niagara, and the STEAM connection that threads my narrative together. I can feel confident that my book—a secondary source—will provide accurate information going forward. Had my topic been purely science or technology-based, it would have been equally important. Consider how breakthroughs of the past would be viewed today.
Dig for those primary sources, friends. But don’t stop there. Look for quality secondary sources that will help you form a more complete and accurate picture of your topic. You’ll feel triumphant when your true story comes into focus.
You can read more about my primary and secondary research on this Knowledge Quest blog for AASL.