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once he realised – or was made to realise – how much more work it would take both for his pupils and himself to satisfy the time-lords of assessment, "I collapsed back on Hitler and the Henries."

My own anecdotal evidence suggests that right across the secondary school system our children are being short-changed of the patrimony of their story, which is to say the lineaments of the whole story, for there can be no true history that refuses to span the arc, no coherence without chronology.

A pedagogy that denies that completeness to children fatally misunderstands the psychology of their receptiveness, patronises their capacity for wanting the epic of long time; the hunger for plenitude. Everything we know about their reading habits – from Harry Potter to The Amber Spyglass and Lord of the Rings suggests exactly the opposite. But they are fiction, you howl? Well, make history – so often more astounding than fiction – just as gripping; reinvent the art and science of storytelling in the classroom and you will hook your students just as tightly. It is, after all, the glory of our historical tradition – again, a legacy from antiquity – that storytelling is not the alternative to debate but its necessary condition.

Along with Albania and Iceland, Britain is now one of the few countries in Europe not to require the study of history after the age of 14. Worse, the subject is taught in exam-oriented modules – or, to put it differently, in totally unconnected bubbles of specialist knowledge.

We are deeply and fundamentally attracted, in fact, to games: those places where efforts and excellence are rewarded, where the challenges and demands are severe, and where success often resembles nothing so much as a distilled version of the worldly virtues of dedicated learning and rigorously co-ordinated effort.

Photographs have tremendous power to communicate information. But they also have tremendous power to communicate misinformation, especially if we’re not careful how we read them. Reading photographs presents a unique set of challenges. Students can learn to use questions to decode, evaluate, and respond to photographic images.

What happened just before this moment, or just after it?

The photograph of a crowd of jubilant Iraqis toppling the statue of Saddam Hussein in Baghdad on April 9, 2003, is one of the most common images of the recent war in Iraq. A closeup shot shows a crowd of primarily Iraqis toppling the statue. A wide shot of the same scene would have revealed that the crowd in the square was made up of primarily US forces and journalists.