Opinion | What We Lose When Only Men Write About Men - The New York Times - 0 views
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In “The Aspern Papers,” the Henry James novella of literary obsession, a biographer becomes fixated on a stash of secret letters belonging to an elderly woman who was once his subject’s girlfriend. Abandoning all his moral scruples, he persuades her to take him in as her tenant and pretends to court her niece.
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The book is said to be inspired in part by an anecdote about a fan of Percy Bysshe Shelley who made a similar attempt to win over a former associate of the poet
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It’s perfectly reasonable for executors charged with sensitive information to vet those who wish to use it. But this system too often rewards cronyism rather than hard work or creativity — and perpetuates the gross inequalities in representation that disfigure the American literary landscape.
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To some, it might sound harmless, even amusing. But it made me deeply uneasy. Although the #MeToo movement has helped to raise awareness of the lack of diversity in publishing, biography is a genre in which the voices of women and people of color are still starkly underrepresented. According to a study done by Slate in 2015, 71.7 percent of the biographies the magazine surveyed that year were written about a male subject, and 87 percent of those were by male authors. The study did not consider race, but in the last 20 years, only two books with a person of color as both author and subject have won the Pulitzer Prize for biography.
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The question of access — to materials, to family members and sometimes to the subject — has major repercussions for the work of scholars. Authorized biographers tend to be fiercely protective of their privileged status, which is often the basis for a book contract. Norman Sherry, Graham Greene’s authorized biographer, argued that a comma in his agreement with Greene allowed him sole access to Greene’s papers for more than a decade while he labored over his three-volume biography, delaying other researchers’ work in the process.
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As critics pointed out even before the allegations surfaced, the biography’s accounts of some of Mr. Roth’s relationships contain biases and sexist characterizations that appear to parrot Mr. Roth’s opinions, including an uncomplimentary description of one woman’s genitalia. (Nearly five years ago, Mr. Bailey wrote a review of my own biography of Shirley Jackson that was perceived by many, including myself, as sexist.)
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Critics like to speak of biographies as “definitive,” but in reality there’s no such thing. Biographers aren’t stenographers; we’re more akin to novelists, constructing a narrative of a person’s life and making editorial choices at every turn. An anecdote whose importance I might overlook could be seized on by someone else as a revealing detail.
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Publishers should explicitly encourage a diversity of perspectives on a person worthy of biography, and biographers who care about improving representation would do well to rethink their own roles in the system. They might begin by pledging to keep the papers of subjects where they belong: in public archives, open to any scholar prepared to devote the time and energy to working with them.
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The result would bring an infusion of new perspectives on literary giants, giving renewed relevance to an often conservative industry. It would also help to generate a more inclusive roster of authors considered worthy of chronicling, remaking and expanding the American literary canon.