About the Museum
The Museum of Hoaxes, founded by Alex Boese in 1997, is dedicated to promoting knowledge about the phenomenon of hoaxes. On our blog (to the left) we post about dubious-sounding claims — and whatever else strikes our fancy. But there's more to the museum than the blog. Check out our historical wing, which contains hundreds of articles about famous hoaxes, arranged chronologically from the Middle Ages right up to the present. Our Gallery of the Top 100 April Fool's Day Hoaxes Ever celebrates that one day of the year devoted to pranks and practical jokes. In our forum, you can chat with other MoH members. And there's much, much more.

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The story of the 18th-century contest (sponsored by the British government) to find a solution to the problem of how to determine longitude at sea has received much attention, mostly due to Dava Sobel's best-selling book about it.

But Pat Rogers argues in the Times Literary Supplement that Sobel (and just about every other historian who has written about the subject) has fallen for a hoax. Specifically, all of these historians have described one Jeremy Thacker as an inventor who, early in the contest, almost found the solution to longitude. But Rogers argues that Thacker didn't exist. He was merely a literary joke, probably created by John Arbuthnot.

The evidence for this thesis: 1) Thacker's pamphlet, Longitudes Examin'd, is the only evidence of his existence. He doesn't pop up anywhere else in the historical record. 2) The pamphlet is written in an "absurdly grandiose style." 3) "His unblushing admission that he only cares about the £20,000, with no figleaf claims of benefit to mankind, is equally untypical."

Rogers connects Thacker to Arbuthnot because the pamphlet was later included in a collection of The Miscellaneous Works of the Late Dr. Arbuthnot.

I haven't read any counter-arguments to Rogers' thesis, so I'll leave this as undetermined.
My doctoral dissertation was partially on the subject of the Great Moon Hoax of 1835. I never finished writing the dissertation, but I did spend a LOT of time researching the moon hoax, and I always thought that it would make a great subject for a general-interest book -- using the moon hoax as a window on New York City and America in 1835.

Turns out I waited too long. Someone beat me to it. Matthew Goodman has recently come out with The Sun and the Moon: The Remarkable True Account of Hoaxers, Showmen, Dueling Journalists, and Lunar Man-Bats in Nineteenth-Century New York (published by Basic Books). From the book description:


So now I'll have to go to Plan B: the moon hoax of 1835 as the setting for a science fiction novel. One of these days I might get around to that.
It's probably not going to be received by the book-buying public with as much enthusiasm as the latest John Grisham thriller, but this is the kind of book that gets me excited. It's a new (and what looks to be very well researched) history of the Cardiff Giant hoax titled A Colossal Hoax: The Giant From Cardiff That Fooled America by Scott Tribble. It's due out at the end of November. A bit pricey, but that's often the case with non-mass-market books. From its blurb:


The BBC reports that a 60-year-old Korean man has been arrested for running "a private museum stuffed with fakes." He bought cheap artifacts from flea markets and then displayed them as ancient treasures. He claimed one of his fakes was a "Koryo Dynasty celadon." All in all, he managed to earn $443,000 from this scam through ticket sales.

Two things occur to me:

1) So people are assuming that most museums aren't full of fakes? The dirty little secret of the worlds of art and archaeology is that they're awash in fakes. And even when a museum owns the genuine artifact, it might not display the real thing for security reasons.

2) To play devil's advocate, what difference does it make if people see the real thing or a fake? The vast majority of audience members are unable to tell the difference. My theory is that when people visit museums to gawk at artifacts they don't understand, they're actually engaging in a form relic worship. And the power of the relic lies not in its authenticity, but in the belief in its authenticity.
The Yale Center for British Art is hosting an exhibition about an obscure 18th-century art hoax (one that I had never heard of before). The exhibition is titled "Benjamin West and the Venetian Secret" -- which makes it sound a bit like a new Harry Potter novel. From Art Knowledge News:


Researchers have determined that the Chi-Rho Amulet, found in Shepton Mallet in 1990, is a fake. When it was first discovered in a Roman grave eighteen years ago, it was thought to be the earliest Christian artifact ever found in Britain. Local residents were so excited by the discovery that they named an entertainment center and a street after it. But tests indicate that the silver in the amulet is of nineteenth-century origin.

Suspicion is focusing on protesters who were opposed to local development. Peter Leach of Birmingham University is quoted as saying: "A local group might have had an agenda to place an object there in the hope that an archaeological find would stop the development.” Link: Times Online.

Britain, of course, has quite a history of producing fake medieval artifacts. Back in the nineteenth century two hoaxers, William Smith and Charles Eaton, churned out thousands of fake "medieval" metal objects. Once exposed, the faux artifacts came to be known as "Billies and Charlies." Now they're collector's items in their own right.
Bra-burning came to symbolize the feminist movement, but according to this article at pressofAtlanticCity.com, the original 1968 bra-burning protest, that first associated bra-burning with feminism, never actually happened.


And so the bra-burning myth was born. Though I'm sure protesters must have burned their bras at some later point in time.
Two hundred years ago General Ignacio Alvarez, commander of a South American region that would later become Argentina, sent James Madison a pair of duelling pistols forged from the iron of a meteorite. It was a pretty cool gift -- assuming the guns were real. But recent tests performed at the ISIS neutron source in the UK have revealed that the guns were cheap fakes. From BBC News:


Even worse, the silver handles of the pistols turned out to have been made from a cheap brass alloy. Researchers aren't sure whether General Alvarez knew the guns were fake, or if he himself was duped. In fact, researchers aren't even sure if the guns are the original ones given to Madison. It's possible someone at some point in time may have switched the real ones for fakes. (Thanks, Joe)
Since April 1st is fast approaching, I've been doing a lot of research into the origins of April Fools Day in order to supplement the info I already have on the site. In the course of this research, I came across references to an old English holiday called Shig-Shag Day, celebrated on May 29, that has some similarities to April Fools Day. Shig-Shag Day is also called Shick-Shack Day or (more boringly) Oak Apple Day.

Celebrants would place sprigs of apple oak in their hats or lapels to commemorate the restoration of the monarchy. The oak was said to symbolize the oak tree that Charles II hid in to escape his enemies. But cultural anthropoligists suggest that the custom may have been a relic of ancient pagan tree-worship festivals. And for most people, the day was simply an excuse to get drunk. An 1855 issue of the journal Notes and Queries (Aug. 11, 1855, pg.100) offers this description of Shig-Shag Day celebrations:


There's some controversy about the origin of the term "Shig-Shag." Some people say oak apples were known as "shig shags" or "shick shacks" in some parts of England. But the more interesting theory is that shig-shag was a euphemism for "shit sack," which was a popular term for non-conformists and enemies of the monarchy back in the 17th century.

I don't think anyone celebrates Shig-Shag Day anymore, but I like the idea of a holiday dedicated to getting drunk and worshiping trees.
The big news in the world of hoaxes, revealed last week (and already posted in the forum), was the revelation that Misha Defonseca's best-selling, non-fiction memoir of growing up in war-torn Europe turns out to be fiction. (Thanks to everyone who forwarded me links to the news.)

Defonseca's memoir, Misha: A Memoir of the Holocaust Years (also titled Surviving with Wolves), describes how when she was a young child her Jewish parents were seized by the Nazis, forcing her to wander Europe alone until she was adopted by a pack of wolves in the Warsaw ghetto.

The reality is that she wasn't actually adopted by wolves. Nor did she wander Europe. She was raised by her grandparents. Nor is she Jewish.

Defonseca offered the well-worn excuse of literary hoaxers: she considers the tale to be true in a metaphorical sense. She says, "This story is mine. It is not actually reality, but my reality, my way of surviving." This excuse is used so often that bookstores might soon have to start separating books into a third category: fiction, non-fiction, and non-fiction in a metaphorical sense.

Defonseca's hoax was exposed by Sharon Sergeant, a genealogical researcher, who became suspicious and did some research into Defonseca's past.

This is not the first hoax holocaust memoir. In fact, the holocaust is quite a popular subject for literary hoaxers. Jerzy Kosinski claimed his 1965 work The Painted Bird was a non-fiction memoir of his childhood experiences during the Holocaust. It's now considered to be fiction.

And in 1993 Helen Demidenko won the Vogel Literary Award for her book The Hand That Signed the Paper, which described, so she said, her family's experiences in the Ukraine during the Holocaust. Later she admitted that her family never lived in the Ukraine. They were from Britain. And her real name was Darville, not Demidenko.