In a review for The New Republic, Sarah Weinman says of Jerome Loving’s recently released biography, “Jack and Norman is a book that makes one wonder why it took so long for someone to write a full-length treatment of the whole mess.” [Read more…] about The Art of American Crime: Q&A with Dr. Jerome Loving on Jack and Norman: A State-Raised Convict and the Legacy of Norman Mailer’s “The Executioner’s Song”
February 20, 2017, marks the 122nd anniversary of Frederick Douglass’s death. Douglass (1818–1895), an abolitionist and activist for civil rights, was a gifted writer and orator. [Read more…] about Frederick Douglass and the Mass Meeting for Civil Rights
While researching his recent book William Cameron Menzies: The Shape of Films to Come, author James Curtis visited the Ransom Center to seek insight about Menzies’s career. Menzies worked with producer David O. Selznick on several projects, including Gone With The Wind and Spellbound. Using the Selznick collection at the Ransom Center, Curtis was able to research the work and efforts of the film industry’s first production designer. Below, Curtis recounts some of his findings. [Read more…] about Biography sheds light on William Cameron Menzies, the first production designer
Hermione Lee is a well-known biographer of literary figures, admired for scrupulously researching her subjects. Her recent book, Penelope Fitzgerald: A Life (2013), details the life of the late-blooming author as Lee discovered her in the archives.
Lee will speak at the Ransom Center about her experiences pursuing subjects through their archives on Wednesday, April 8 at 4 p.m. The lecture is free and open to the public, but seating is first-come first-served.
In anticipation of Lee’s visit, Cultural Compass reached out to her about her work and research.
How do you choose your subjects for a biography?
I choose my subjects out of a passionate admiration for their work, a desire to communicate that admiration and interest in their lives as broadly as possible, and a sense that I haven’t yet read the biography I want to read about them–so had better write it myself.
During her lifetime Penelope Fitzgerald wrote three biographies. What was it like applying the same act of analysis to her?
I would have liked to take a leaf out of her book and write a very slim, cryptic, suggestive book about her, since she felt it “insulted the reader to explain too much.” But as I was writing the first biography of her and as she is not a mainstream, popular writer, I felt I needed to write at more length and with more detail than she would have done herself. However, my motives were the same as the motives which led her to write biography: a desire to communicate to as wide an audience as possible the heart and meaning of her life and work. Fitzgerald’s biography of Charlotte Mew, an unjustly neglected early-twentieth-century English woman poet, was particularly in my mind when I was writing my biography.
There are more than 800 footnotes in your book. Is that average or unusual in a biography?
Some biographers put their footnotes on line, some don’t have many, some have many more. I like readers to know where the facts have come from.
Fitzgerald was a private person. How does that make the work of a biographer more challenging?
There were times when I felt she would have resisted what I was doing, had she still been alive, but there were also times when I hoped that the attention I was drawing to her writing would have pleased her. Many of her secrets remain with her, and I admire and appreciate that, even though it can also be frustrating.
Can you talk about your research in the Ransom Center’s Penelope Fitzgerald archive? What insight did her personal papers provide?
My work in the archive was invaluable to me. It contains many of her manuscripts, letters to readers and publishers, notebooks, and first drafts. I understood her writing much better-particularly her brilliant use of sources for her novels–when I had worked in the archive.
Were you drawn to a particular item in the collection?
I was very moved by the last, unfinished story in her notebook, which ends, like so much of her life, with a mystery and a secret. I end my biography with it.
You are working on a biography of Tom Stoppard. Have you worked with the Stoppard papers in the Ransom Center’s collections?
I am starting work in the archive now, with great excitement and anticipation.
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John Lahr, a renowned theater critic who wrote for The New Yorker for more than two decades, took up the task of continuing to record and analyze Tennessee Williams’s life in 2007. In Lahr’s new biography, Tennessee Williams: Mad Pilgrimage of the Flesh (Norton), he draws upon his subject’s plays, letters, and even his own experience of meeting the writer to give readers greater insight into the complicated mind of one of America’s greatest playwrights. His research included a 2011 visit to the Harry Ransom Center, which houses and extensive collection of Williams’s papers, including original manuscripts.
Tennessee Williams: Mad Pilgrimage of the Flesh, which has been nominiated for a National Book Award, was released today. To read more about the book and its reviews, visit John Lahr’s website.
In a Q&A with Cultural Compass, Lahr discusses how he stayed true to Williams by spending time with primary sources, including items in the Ransom Center’s holdings.
Was there a particular aspect of Williams’s life or work that you were particularly drawn to?
So much new primary source material—diaries, letters—had been published about Williams since the first biography was written, that I felt a new narrative was needed to tell the story with a deeper sense of event, and a surer knowledge of the internal issues with which Williams was struggling. Also, the plays needed to be interpreted not just recapitulated. Williams always said the plays were a map of his internal life at the time of the writing. My goal was to chart the trajectory of the mutation of Williams’s consciousness, to show how the plays reflected the man and how the man re-presented his internal turmoil in his plays. The book, which has just been shortlisted for the National Book Award, seems to have met a need for the public for a change in narrative about Williams, to see the man and his work with a new lens.
In this biography you sought to avoid capitalizing on the sensationalism of Williams’s public life. How useful were primary sources in helping keep an objective perspective?
In my other biographies, I had primary sources to hand. For Notes on a Cowardly Lion: The Biography of Bert Lahr, I had my father to depose and the experience of a lifetime of living with him; in Prick Up Your Ears: The Biography of Joe Orton, I had exclusive use of Joe Orton’s diary of the last eight months of his life as a backbone of the narrative; in Dame Edna Everage and the Rise of Western Civilization: Backstage with Barry Humphries, I was backstage with him at the Drury Lane Theatre and on the road. With Williams, my tactic was to stay as close to his words and what he wrote at the time of writing each play to get a sense of the man and to give the reader the pulse of his metabolism. His published diaries, his published letters (which only go up to 1957), and the remaining correspondence of nearly a quarter of a century to which I had access formed the primary source for my narrative. I think of this as a sort of “global positioning device” for the interpretation both of the plays and the man.
Do you recall if there was a particular item that you found interesting?
The Ransom Center is a treasure trove of Williams material; so it’s really impossible to say which item was more revelatory. For me, I think the letter from his institutionalized sister Rose (“I’m trying hard not to die”) and the typing lessons which the blighted Rose, who never in the end held a job, were scorching. Miss Edwina, her mother, had her typing Puritan platitudes about the blessings of work and rigor and attainment—a regimen that finally helped to drive her crazy. And of Williams, there is a beautiful valedictory letter to his first real companion, Pancho Roderiguez, telling him in later life to walk tall in the world.
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Sally Cline, a British award-winning biographer and short story writer, recently published the biography Dashiell Hammett: Man of Mystery (Arcade). She received a Dorot Foundation Postdoctoral Research Fellowship in Jewish Studies from the Harry Ransom Center in 2003-2004, which supported her work in the Dashiell Hammett and Lillian Hellman collections. Below, Cline answers questions about her new Hammett biography.
You have previously conducted research on both Dashiell Hammett and his lifelong companion, Lillian Hellman. What led to you revisit the topic and ultimately to write a biography of Hammett?
Publishers were more interested in having separate smaller biographies about Hammett and Hellman than the big joint biography I had envisaged. The American publishing firm Arcade commissioned a compact biography of Hammett, and that is what I wrote. I have, of course, a great deal more research material left on Hellman as an individual and Hellman in relation to Hammett, so I plan to also write a short study of Hellman using the theme of memories and myths.
What aspects of Hammett’s character and work are of special interest?
His writing, of course, and in particular the way in which he transformed and subverted the detective novel. Through his moral vision expressed in every book he wrote, he effectively elevated the genre of mystery writing into the category of literature.
His near-nihilistic philosophy (especially his root idea that the world is ruled by meaningless blind chance), which becomes the thematic context to all his work and much of his behavior.
Relevant to this interest is my choice of the anecdote about Flitcraft (in The Maltese Falcon), which stands out as his most memorable piece of nonfiction prose. Ironically, despite the fact the anecdote was key to the novel’s theme, when John Huston made the most famous of the several films about the Falcon, he left it out. Hammett would have appreciated the irony.
I am interested in another irony whereby a writer whose creed is moral ambiguity and random results chooses to write crime novels that are generally predicated on linear clues and an orderly progression of facts.
I am interested in his relationship to other men and to women. He always preferred male company but was terrified of being thought homosexual. Yet, apart from his affectionate and initially sexually successful relationship with his wife Josie, he did not have a genuinely equal sexual, emotional, and interdependent relationship with any other woman, not even Lillian Hellman. He coped sexually by using prostitutes and was sometimes violent towards women, especially when drunk.
Two more things fascinate me. One is his series of debilitating illnesses that made him virtually an invalid in an era when masculine identity was predicated upon robust health. Real Men were not sick!
The other part that intrigues me, as it has intrigued his many other biographers, is his long literary silence.
What I felt was important was not the myth that he stopped writing—indeed as his daughter Jo testified, he never stopped writing; he merely stopped finishing. But the sad fact is that despite the constant agonized writing, he never again published a full novel after The Thin Man.
How did the Ransom Center’s archives serve you in your research process? Did they provide any new insights and/or understandings of Hammett?
The Center’s archives provided an enormous amount of information, which along with Hammett’s own family helped answer many of my most significant questions. Two people at the Ransom Center in particular must be singled out: Margi Tenney and Pat Fox. I have so far held four or five fellowships at the Ransom Center over a great many years, and in every case these two women have been unfailingly helpful, flexible, kind, efficient, and brilliant in making my work flow and focus.
Image: Cover of Sally Cline’s Dashiell Hammett: Man of Mystery.