These are the main conclusions of one chapter in Wiley-Blackwell’s important new work published today: A Companion to Literary Biography. The book contains 33 essays, written mostly by academic scholars, and an introduction by the editor Richard Bradford, an esteemed literary biographer and noted expert in the field. According to the publisher: ‘The Companion brings a new perspective on how literary biography enables the reader to deal with the relationship between the writer and their work. Literary biography is the most popular form of writing about writing, yet it has been largely neglected in the academic community. This volume bridges the gap between literary biography as a popular genre and its relevance for the academic study of literature.’ Some pages are available to preview at Googlebooks, and the book can be purchased (for £120!) from Amazon.
I, myself, contributed Chapter 10 - The Role of Diaries in the Development of Literary Biography. Here are the conclusions to that chapter (much of which can be read, at the time of writing, in the e-book version available at Googlebooks).
‘The history of literary biography has been much studied and written about, but not from the standpoint of how it might have been affected and influenced by diaries and diarists. Here, I have tried to redress that imbalance by touching, albeit lightly, on some features in both genres, features that show, among other things, how significant changes in the development of biography may well have been driven or fueled by diary writers. It is an impossible leap to see the origins of literary biography in Japan 1,000 years ago (since they were not published in English until the twentieth century), but, on the other hand, it should not be ignored that so long ago there was an artistic culture in which life writing - diaries, biographies, travel journals - not only existed but reached heights of literary excellence still much admired today.
Some 500 years later comes the first evidence in England of individuals, from various different strata in society, recording their lives in diary form - biographical writing. For the Boy King, Edward VI, inspired by his tutor, Cheke, to give more significance to his reflections by writing them down, we have a document of immense historical importance, but one that gives us, at the very least, a feeling of the boy’s life. For Henslowe, his simple account notes are an invaluable first-hand source about the literary world in which he and Shakespeare worked. Most intriguing of all is Anne Clifford, whose diary is one of the very first to document feelings and thoughts, as well as a remarkable story that resonated strongly with one of the twentieth century’s literary figures, Vita Sackville-West.
Many, if not most of those, who study the history of English literature agree that Johnson and Boswell can be found at the well-spring of literary biography, the former for his Lives of the Poets, and the latter for his biography of the former. It is clear that around Johnson, and partly because of him, there was a culture of keeping a diary, one that infected not only Boswell, but Fanny Burney and Hester Thrale. And out of this cauldron of life-writing activity came Boswell’s great biography, and another of Johnson by Thrale. It is well understood today that Boswell’s Life of Johnson was heavily dependent on his diaries, but it is my contention that his pivotal place in the development of literary biography came about largely because of his diaries, because he was a diarist. All four writers remain of much interest to modern biographers, their diaries (only travel diaries in Johnson’s case) providing plenty of material to interpret and reinterpret.
If the genre of literary biography had been stagnating for much of the nineteenth century, it was about to explode with ideas - first with Lytton Strachey, then with Virginia Woolf. My aim has been to show that wherever one looks in the genre’s history, there are diaries and diarists, and this is no less true of its reinvention with Strachey and Woolf. My main argument is that by the time of this literary revolution there was a plentiful supply of new, fresh, and invigorating diary material not only feeding into what information was available to biographers but challenging them to find new ways of writing the ‘life.’ It is interesting - I claim no more - that Strachey chose four subjects, for his Eminent Victorians, all of whom were diarists, but diarists with this newly widespread predilection for self examination. Interesting, too, how steeped Woolf was in the diary genre. She was extremely well-read in other people’s diaries, and was reading the newly published diaries of Anne Clifford, edited by her friend Vita Sackville-West, while writing Orlando, a fictional biography of Sackville-West. This turned out to be her most innovative contribution to literary biography. She was also a brilliant diarist herself, and almost every one of her biographers acknowledges how central diary writing was to all her other writing. Thus, it also my contention that the very act of writing a diary has been instrumental in allowing writers to break through into new biography forms, as with Boswell, but so too with Woolf.’