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A third-person narrator presents the protagonist Annie’s story. Annie and her husband Henry have lived in Maine since Henry got a teaching job at Bowdoin College. One day, Annie watches television alone, intrigued by Ted Rosen’s conversation with Lionel Worthing about his new book on American folk music.
Hearing Lionel talk, Annie muses on how boring contemporary life is. She wonders how things would change if she’d lived in the past. She turns off the television and sets to cleaning the house. When they bought the house, Henry insisted they take on the task of cleaning out the former owner’s things themselves. Annie isn’t working and understands that Henry thought the task would give her something to do.
Over dinner, Annie asks Henry if he’s ever thought about living in a different era. When Henry seems confused, Annie suggests they take a trip to Rome. Henry says they don’t have time as they already have holiday obligations, and he’s too busy with work. Instead, he says, Annie should try cooking Italian food. Annoyed, Annie snaps at Henry for biting his spoon.
Annie and Henry met 15 years earlier. Annie was studying communications at Cornell but soon discovered an interest in biology and switched majors. While at a research station in California one summer, Annie met Henry. They dated through the summer but parted ways to return to school. Three years later, Annie bumped into Henry at a liquor store in New York. He was attending graduate school at NYU, and she was in her senior year at Cornell. They spent the night together, reigniting their relationship. Annie never returned to Cornell, dropped out, moved in with Henry, and got married.
Now, Annie heads up to the attic to do more cleaning, and she discovers a collection of phonograph cylinders. Worried that the former owner might have left valuable things behind, she contacts her realtor Liz, who agrees to get in touch with the former owner.
That night, Henry surprises Annie with a basket of pasta ingredients and an Italian cookbook. Despairing, Annie bursts into tears. After Henry retreats to his office, Annie sits at the table until dark. Then Liz calls with the former owner Belle’s phone number. Annie calls Belle, and she says Annie can bring her some of her old things.
In the morning, Annie travels to the Isle au Haut to see Belle. She gives Belle some old photos and tells her about the cylinders she found. Belle reveals that they belonged to her first husband David, who made them with Lionel Worthing years ago. David died a year into their marriage. When Annie tells Belle about Henry, Belle reminds her that first love isn’t meant to last. She adored David but losing him made her stronger. Before they part, Belle suggests that Annie send the cylinders to Lionel.
On the way home, Annie meditates on her and Henry’s relationship. She realizes that running into him years prior marked the end of her life. She imagines all the things she could have done if they’d never seen each other again. Back at home, she discovers some musical notes David drew on the bathroom wallpaper in pencil.
The final short story lends the collection a cyclical structure, picking back up on Lionel and David’s story from the collection’s start. In the title short story, “The History of Sound,” Lionel rediscovers a link to his past with David when he receives the phonograph cylinders they made together in the mail. In “Origin Stories,” the reader discovers that Annie is the person who found the cylinders and sent them to Lionel. The artifacts of Lionel and David’s love affair were buried in Annie’s attic, an image that reiterates Shattuck’s overarching notion that history is impossible to erase and always embedded within the present.
Further, Annie’s exposure to Lionel’s story on television, her interaction with the cylinders, and her conversation with Belle are all experiences that capture The Clarifying Power of History. Annie has no immediate relationship with Lionel, David, or Belle, but hearing their stories grants her insight into her own life. Throughout the short story, Annie feels caught. She gave up on her education and scientific passion to create a life with Henry. However, this decision years prior has led Annie to a banal existence lacking in true connection, community, or personal fulfillment. For these reasons, the past seems like a nostalgic escape for Annie. “If only she’d been alive before TV,” Annie thinks, perhaps “things would be more interesting” for her or she’d “have more interesting stories of her own, by the end of her life” (273). Attaching herself to Lionel, David, and Belle’s history thus infuses Annie’s life with a sense of meaning.
More specifically, sharing time with Belle offers her perspective on her relationship with Henry. Perhaps, she realizes after hearing Belle’s musings on first love, “hers and Henry’s meeting in the Carmel Valley [is] not an origin story” at all (305), but in fact marked the end of her independent life. Interacting with history via Lionel, David, and Belle encourages Annie to reflect on her personal history in new ways. For the first time, she’s able to see her choices with newfound clarity. Because Lionel and Belle are elderly and David is deceased, the arcs of their life are more fully realized than Annie’s. In studying their experiences, Annie is better able to anticipate her own future and to see her need to make a change. This, the story argues, is just one way that history can act as a teacher.
By placing “Origin Stories” at the end of the collection instead of at the beginning, Shattuck structurally enacts the cyclical nature of time itself. Annie’s discovery of the cylinders chronologically precedes Lionel’s story in “The History of Sound.” However, on the page, Annie’s story follows Lionel’s, showing how history is a circle where all human stories are embedded within each other.



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