Introduction to the New Edition (2013)
FIRST, a confession. When I wrote Reflections on Biography, I was not a
reader of biography. I certainly did not read biographies for pleasure,
and, like too many literary scholars, I forgot to consult them for my
research and, in fact, did not know how much they have to offer
critics. Now biography is my favorite pleasure reading, and I have a
capacious appetite for exploring the ever-expanding ways that they are
being written and the places that sophisticated examples are now
found. Biography continues to be the genre read by the largest cross
section of readers in America and Great Britain. Sveve Jobs by Walter
Isaacson sold 379,000 copies the first week it was published (Nielen
Bookscan). Everyone agrees that biography sells. Edward Champion
writes rather snidely, "Trade and university presses show no reticence
in chipping and pulping the forests on behalf of almost any
conceivable figure."' Oxford University Press's 2012 Christmas web-
site advertisement proves him right, as it featured the covers of eight
biographies ranging from the traditional The Road to Monticello: The Life
and Mind of Thomas Jefferson and Bismarck: A Life to the now-established
celebrity category represented by Dust! Queen of the Postmods (about
Dusty Springfield, the British pop singer) and Hi-De-Ho: The Life of Cab
Calloway. Arranging their covers in two neat rows of four, the titles
carefully promise that they are "lives." In sharing my leisure reading in
this new introduction, I will survey a range of biographies that
captured my imagination and a few of the most-discussed issues
regarding them.
Biographies are all around us, and even those written for
ephemeral purposes are expected to be skillfully researched and
written. Notably journalistic biographers are expected to have some
training as researchers or to have support staff that do.? Sports Illustrated
featured a biography of Wonman Joseph Williams, a defensive back on
the Virginia football team who at the time of the story was part of aINTRODUCTION (2013)
Living Wage Campaign. Williams's biography was illustrated with
iconic pictures of activist athletes including Bill Walton demonstrating
against the Vietnam War and Arthur Ashe behind a fence agitating to
expel then-apartheid South Africa from the International Lawn Tennis
Association (July 9-16, 2012). Good Housekeeping lists a biography such
as William J. Mann's Hello, Gorgeous: Becoming Barbra Streisand almost
every month in its "Good Reads" column. The little biographies in
Opera News are among its most popular features, and it treats readers to
such specials as "Opera's Next Wave: The Voices and Faces of the
Future" (August 2012). The photographs do, indeed, bring the faces
into play, and portraits and featured photographs and other visuals are
now expected in biography. Darren K. Woods, general director of Fort
Worth Opera, is smiling in a classic business suit, but with a paisley tie
that just hints at creativity. Isabel Leonard, the mezzo-soprano, evokes
Maria Callas by lounging in a vintage chair wearing a black dress and
stilettos. Latonia Moore, who became a star when she substituted in
the title role of Aéda at the Metropolitan Opera in March 2012, is
featured in her costume, while Alek Shrader, the tenor who describes
his training as "very blue collar," poses at the Met in blue jeans and a
Western shirt adorned with an embroidered long horn at the
collarbone.
In a review of the Theodore Roosevelt Memorial at the
American Museum of Natural History in New York City, Edward
Rothstein easily summarizes the controversies about Roosevelt ("a
defender of liberty; no, a power-hungry mountebank... a farseeing
visionary, an energetic clerk") and then chides the Museum for listing
his general "vocations" without specifics. Those specifics are arresting,
as good, recovered biographical information is: Roosevelt was NYC
police commissioner, head of the federal Civil Service Commission,
created 51 bird reservations, wrote eighteen books, and was part of
two scientific expeditions to Africa.> This is how available biography is
and what it can do--astonish, educate, remind, change opinions. It can
also startle and intrigue with its adaptation of traditional biographies as
this one does of the Great Man type.
When I wrote Reflections on Biography, | was certain we were at
the beginning of an explosion of creativity in biography writing, and
we were. Now the recognition of this explosion in forms, styles,
subjects, methodologies, and purposes is widespread. The blending of
genres and the breakdown of respected limits of speculation in
biography and of the borders between, for instance, entertainment and
xiiREFLECTIONS ON BIOGRAPHY
the historical record and academics and journalists has accelerated. As
Michael Holroyd said in 2003, "Biography will continue to change, will
become more personal, more idiosyncratic, imaginative, experimental,
more hybrid, and will move further from the comprehensive."* In this
brief introduction to the reissuing of this book, I want to look briefly
at what some of the most influential changes are, even within those
forms of biography that seem to be maintaining their traditional
shapes and prefaces. In the conclusion, I will return to the relative
lack of theory in biography studies, a topic I highlighted in the
introduction to Reflections.
Writing a new preface to a book always arouses thoughts of
what might be done differently. I think the first section of this book,
“The Basics," the part about the decisions that biographers make,
stands the test of time well. Every biographer must grapple with each
of them: voice, relationship between biographer and subject, evidence,
and choice of perspective. As the biographer Ann Thwaite said of
Reflections, "There is no other book like this," and Xolela Mangcu
wrote, "Your book has been on my bedside for so long while I was
writing my biography of Steve Biko."> Indeed, there is still no other
book that probes the decisions biographers make as relentlessly as
mine. Establishing a voice and a perspective determines the bio-
grapher's relationship to reader and subject, the person or persons
written about, and maintaining that steady presence is harder than it
might appear. Surprising to me was how hard it was to keep the same
steady, engaged, clear tone and register throughout the 541 pages of
my Daniel Defoe: His Life, thus "Voice" was the natural place to begin.
The relationship between biographer and subject is complex from the
moment the decision of subject is made, and the second chapter
reveals possibilities as well as cultural and personal forces that
configure that growing and changing dynamic. Evidence--finding it,
evaluating it, presenting it--is the greatest test of the biographer and is
the subject of the third chapter. Creativity, perseverance, diligence,
stamina, time, and money are required almost beyond the ordinary
person's imagination. The fourth and final chapter in this section takes
up the most controversial topic, the impact of theories of personality.
Some believe that in the best biographies, none of these decisions
should show. So seamless should the biography be that the reader
never senses the effort that each choice demands, but, regardless, the
decisions are always made. And they determine everything from the
perception of an authoritative account to the experience of being