Most book reviewers know very little about the history or the art of biography. Indeed, if there is any art in biography, it is the rare reviewer that acknowledges it or knows how to discuss it. Usually the reviewer regards biography as an occasion to wax eloquent about what he or she thinks of the subject. Little space, if any, is devoted to the biography's structure or style, to the biographer's peculiar problems, or to how the biography relates to others about the same subject.
Carl Rollyson, a professional biographer and weekly columnist (On Biography) for The New York Sun, explores the ramifications of authorized and unauthorized biographies, investigates the relationship between biography and history, biography and fiction, biography and autobiography, as well commenting on certain perennial biographical subjects such as Napoleon, on sub genres such as children's biography, and on the most recent developments in life writing.
Rollyson's aim is to reach not merely scholars but that vast general audience addicted to reading biography, enhancing their pleasure by providing insight (or you might say, the inside word) on how biographies are put together.
In The New Criterion, James Panero writes: Carl Rollyson reads biographies. He writes biographies. He writes about reading biographies. He writes about writing biographies. Writers are the subject of many of the biographies he reads and writes. Whew! Add up this reading and writing and you arrive at a sum of literary arithmetic called “On Biography,” Rollyson’s regular column for The New York Sun. Part book review, part essay, always timely and interesting, “On Biography” covers biography’s subjects and the subject of biography in a two-for-one deal. Reading Biography is Rollyson’s first collection of these essays, which he began writing in Spring 2003.
Emerson wrote that “There is properly no history; only biography.” Disraeli: “Read no history; nothing but biography, for that is life without theory.” Carlyle: “History is the essence of innumerable biographies.” Rollyson knew he was onto something when he took up the subject of biography. But why biography now? “Historians distrust biography,” Rollyson writes in a review of two books on Stalin. “Modern historiography has rejected Thomas Carlyle’s ‘Great Man’ theory of history in favor of complex explorations of historical process, of the forces and factors that shape the world regardless of its individual players.” True enough, but social history doesn’t exactly lend itself to page-turner reading, and increasingly it is biographers who have taken up the slack of writing accessible history. Rollyson settles on a quote from Louis Fischer to best describe his interest: “Biography is history seen through the prism of a person.”
As a biographer himself, Rollyson has more than a few ideas about its mechanics. He writes of Michael Barber’s Anthony Powell: A Life, for example:
I like the feel of Mr. Barber’s book, and the sense that he is aware of how to manage his own narrative. Thus he writes: “This is probably the place to summarise Powell’s athletic record at Eton.” Rarely does he succumb to the bane of biography, the “must have been” and the “reasonable to suppose,” which are no more than oblique confessions of ignorance.
With more than a concern for tricks of the trade, Rollyson clues us into becoming—if not better writers—better readers of biography. Reading Biography has a production value that can best be described as “cut-and-paste.” The upside is that it contains reviews that are still quite timely—covering many of the same books reviewed recently in these pages.
e.g. Fiction, History, Magazine Articles, etc. goes here
Carl Rollyson not only provides an introduction to her essays, novels, plays, films, diaries, and uncollected work published in various periodicals, he now has a lens through which to reevaluate classic texts such as Against Interpretation and On Photography, providing both students and advanced scholars a renewed sense of her importance and impact.
This first biography of Susan Sontag (1933–2004) is now fully revised and updated, providing an even more intimate portrayal of the influential writer’s life and career. The authors base this revision on Sontag’s newly released private correspondence, including emails, and the letters and memoirs of those who knew her best.
Chapters on Marilyn Monroe, Lillian Hellman, Martha Gellhorn, Norman Mailer, Rebecca West, Susan Sontag, Sylvia Plath, Amy Lowell, Michael Foot, Jill Craigie, Dana Andrews, Walter Brennan, and Willam Faulkner.
A Private Life of Michael Foot
adopts a no holds barred approach to biography, leaving a political figure stripped bare, and revealing a deeply complex, introverted man for all to see.
The first biography of the prodigiously hard-working actor who embodied the Western ideal
A documentary approach to the life and legend. With details of her childhood, her young adult years, her ascent to superstardom, and the hour by hour moments leading to her tragic early death, this volume supplements—and, in some cases, corrects—the accounts of previous biographies.
A riveting examination of Amy Lowell’s private life and lover, Ada Russell, who did so much to make Lowell’s career possible
The startling discovery of a new Amy Lowell lover who perished on the Lusitania. A compelling window into Lowell’s gregarious character. Concise readings of Lowell’s most important poems reveal the depth and range of her erotic imagination. An astute analysis of the way biographers and critics have maligned Lowell as a person and poet.
A revisionist view of the poet, her fellow writers, and their biographers. In this series of essays, beginning with a look at how her own biographers have behaved, I have tried to re-conceive the familiar anecdotes and episodes, circling back again and again to certain incidents and contretemps, as the point of view shifts from one writer to another. As a kind of coda to my quarrel with biographers is an essay, “Remembering Amy Lowell,” in which I assess the varying degrees to which the memoirs of her present a credible person and poet. I have not paused to define in any great detail terms such as Imagism, although I’ve included an essay on the Imagists in an appendix as well as the full texts of the poems discussed in this book. These appendices provide a context for the discussion of Lowell and her contemporaries and serve, I hope, as an inviting introduction to her work.
A biography of the great film noir actor. Here at last is the complete story of a great actor, his difficult struggle to overcome alcoholism while enjoying the accolades of his contemporaries, a successful term as president of the Screen Actors Guild, and the love of family and friends that never deserted him. Based on diaries, letters, home movies, and other documents, this biography explores the mystery of a poor boy from Texas who made his Hollywood dream come true even as he sought a life apart from the limelight and the backbiting of contemporaries jockeying for prizes and prestige. Called “one of nature’s noblemen” by fellow actor Norman Lloyd, Dana Andrews emerges from Hollywood Enigma as an admirable American success story, fighting his inner demons and ultimately winning.
Here, at last, is the true story of Sylvia Plath's last days and her estate's efforts to shape her husband's role in her death and the world's understanding of Plath and her work. Here, too, is a new Sylvia Plath, immersed in popular culture and proto-feminism, presaging the way we live now.I wrote this biography because there were aspects of Sylvia Plath that other biographers have overlooked or misunderstood. But as I wrote I re-read my predecessors. I checked to see how others had handled the same material. I think my practice in doing so is worth mentioning because I have dispensed with a good deal of the boilerplate that most biographers feel compelled to supply. I say little, for example, about the backgrounds of Plath’s parents. I don’t describe much of Smith College or its history. I do very little scene setting. Previous biographers do all this and more, and what strikes me about their work is how distracting all that background is for someone wishing to have a vision of Sylvia Plath, of what she was like and what she stood for. To put it another way, since earlier biographers have done so much to contextualize Plath, I have not wanted to repeat that exercise, as valuable as it can be for the Plath novice. Instead, I have concentrated on the intensity of the person who was Sylvia Plath, restricting my discussion of her writing only to the truly crucial pieces that advance my narrative. I have tried to write a narrative so focused that a reader new to Plath biography may feel some of the exhilaration and despair that marked the poet’s life. I wrote this biography because there were aspects of Sylvia Plath that other biographers have overlooked or misunderstood. But as I wrote I re-read my predecessors. I checked to see how others had handled the same material. I think my practice in doing so is worth mentioning because I have dispensed with a good deal of the boilerplate that most biographers feel compelled to supply. I say little, for example, about the backgrounds of Plath’s parents. I don’t describe much of Smith College or its history. I do very little scene setting. Previous biographers do all this and more, and what strikes me about their work is how distracting all that background is for someone wishing to have a vision of Sylvia Plath, of what she was like and what she stood for. To put it another way, since earlier biographers have done so much to contextualize Plath, I have not wanted to repeat that exercise, as valuable as it can be for the Plath novice. Instead, I have concentrated on the intensity of the person who was Sylvia Plath, restricting my discussion of her writing only to the truly crucial pieces that advance my narrative. I have tried to write a narrative so focused that a reader new to Plath biography may feel some of the exhilaration and despair that marked the poet’s life.
The first biography that truly shows the actress at work.-- Ellen Burstyn
A new edition, revised and updated, from University Press of Mississippi. In American popular culture Marilyn Monroe has evolved in stature from Hollywood sex symbol to tragic legend. Most books about Monroe stress the sensational events that surrounded her-this book is the first to deal honestly and critically with Monroe as an actress, evaluating her moves as crucial forces in the shaping of her identity. Through careful examination of her performances, from her small appearances in The Asphalt Jungle
and All About Eve
to her memorable roles in Bus Stop, Some Like It Hot
, and the The Misfits
, the author traces her development from cover girl innocent to an actress devoted to her craft. Based on extensive interviews with many of Monroe's colleagues, close friends, and mentors, this comprehensive, critically balanced study describes her use of Method acting as well as her instruction with Michael Chekhov and, later, the Strasbergs. Carl Rollyson has written a refreshing analysis and appreciation of Marilyn Monroe's enduring and, until now, underestimated gifts as a creative artist.
America's most controversial radical playwright. Through diaries, letters, government files, and interviews Carl Rollyson draws a vital and vibrant portrait of the life, the work, and the legend of Lillian Hellman, America's most controversial radical playwright. Rollyson explores the sources and backgrounds of her best-selling memoirs, the development of her politics, her successful screenwriting career, and her famous appearance before the House Committee on Un-American Activities. He provides entertaining and informative accounts of her feud with Mary McCarthy, her many love affairs and surprising friendships. He also provides a provocative and compelling portrayal of this complex and brilliant woman, who was called everything from a "viper", "a goddam liar" to "an empathetic genius with a highly original and penetrating mind." Near death, Hellman spoke of being blocked; this biography will show what got in her way.
The first biography of Gellhorn, relying on key archival sources and interviews with her friends and associates. Martha Gellhorn died in February 1998, just shy of her 90th birthday. Well before her death, she had become a legend. She reported on wars from Spain in the 1930s to Panama in the 1980s, and her travel books have become classics. Her marriage to Ernest Hemingway and affairs with legendary lovers like H. G. Wells, and her relationship with two presidents, Roosevelt and Kennedy, reflect her campaigns against tyranny and deprivation, and her outrage at the corruption and cruelty of modern governments. This controversial and acclaimed biography portrays a vibrant and troubled woman who never tired of fighting for causes she considered just.
Delves beneath the surface to examine the forces that made Sontag an international icon, exploring her public persona and private passions, including the strategies behind her meteoric rise to fame and her political moves.
The first book to survey the broad range of Sontag's work. Includes a comprehensive glossary of Sontag's extensive allusions to literary figures and ideas.
Twenty-five years of writing about female icons and biography. Female Icons: Marilyn Monroe to Susan Sontag
Bits and pieces that resulted not only in a biography of Marilyn Monroe but also in much of the work subsequently done on Lillian Hellman, Martha Gellhorn, Rebecca West, Susan Sontag, and on the nature of biography itself. This book includes New York Sun book reviews dealing with female icons such as Mary Stuart, Mary Wollstonecraft, The Brontës, Marie Curie, Harriet Tubman, Zelda Fitzgerald, and Sylvia Plath.
The standard biography of one of the 20th century's greatest prose stylists.. What is new in this second edition of Carl Rollyson's standard biography? It begins with a portrait that attempts to evoke the living person in all her dimensions. It concludes with an interview with one of her favorite secretaries, Elizabeth Leyshon, who eluded him in the 1990s but provided new insights into her employer's character for this book. The biography's new title emphasizes that Rebecca West was a prophet-one not always appreciated in her own day. As early as 1917, she understood where the world was headed and realized that the revolution in Russia held out false hope. Because she took this view as a socialist, those on the left scorned her as an apostate, whereas she understood that Communism would result in a disaster for the British left. Readers wishing to gauge the range of West's fiction and nonfiction should read Woman as Artist and Thinker, published by iUniverse. Rollyson has read his words anew, sharpening sentences, omitting words and paragraphs-sometimes entire sections-in order to provide a refreshing, more engaging, and spirited account of one of the world's major writers.
The first book to explore the entire corpus of her extraordinary career.
Religion, politics, and the writing of biographies.
Filmmaker, feminist,, wife--a twentieth century woman.
The first literary biography of Norman Mailer, updated and revised
Essays in Biography
is a play on words conveying an attempt to explore the nature of biography in pieces about the history of the genre and in portrayals of biographers (Plutarch, Leon Edel, and W. A. Swanberg), literary figures (Lillian Hellman, Jack London), philosophers and critics (Leo Strauss and Hippolyte Taine), political figures (Winston Churchill and Napoleon), and artists (Rembrandt and Rubens).
For those addicted to reading biography, enhancing their pleasure by providing insight (or you might say, the inside word) on how biographies are put together.
Provocative reviews of American subjects, originally appearing in The New York Sun.
A candid and revealing account, by an expert in the minefield of the biographer’s contentious work
A terrific companion for biography writers and lovers.-- James McGrath Morris, editor of the monthly "The Biographer's Craft"
Thomas Jefferson and Slavery
Barnes and Noble Review of A Slave in the White House
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