More recent works by Wansbrough and Uri Rubin have similarly demonstrated in rather different ways that the representation of Muhammad in the sīra traditions is essentially a reflection of Islam and its concerns during the eighth and ninth centuries, having little to do with the historical figure of Muhammad.121
Patricia Crone reaches the same conclusion in the opening pages of her Slaves on Horses, where she offers the following pithy, if devastating, assessment of the sīra traditions as historical sources:
Thanks to its success, the Sīra of Ibn Isḥāq is practically our only source for the life of Muhammad preserved within the Islamic tradition.
The work is late: written not by a grandchild, but a great grandchild of the Prophet’s generation, it gives us the view for
which classical Islam had settled. And written by a member of the “ulama” the scholars who had by then emerged as the classical bearers of the Islamic tradition, the picture which it offers is also one sided: how the Umayyad caliphs remembered their Prophet we shall never know.
That it is unhistorical is only what one would expect, but it has an extraordinary capacity to resist internal criticism, a feature unparalleled in either the Skandhaka [the life of the Buddha] or the Gospels, but characteristic of the entire Islamic tradition,
and most pronounced in the Koran: one can take the picture presented or one can leave it, but one cannot work with it.122
Shoemaker p100
All my great grandparents were dead before I was born......
Is it not realised Islam is built on nothing?