Awards

Weil Receives BIO’s Editorial Excellence Award

By Dona Munker, TBC New York Correspondent

Cathy Curtis presents the Editorial Excellence Award to Robert Weil.

On November 8, Robert Weil, editor-in-chief and publishing director of Liveright, an imprint of W. W. Norton, received BIO’s fourth annual Editorial Excellence Award. He joins Nan A. Talese, Jonathan Segal, and Robert Gottlieb, as winners of this honor. Introduced by one of his authors, Thomas Jefferson biographer Annette Gordon-Reed, Weil said that he thinks he may have become an editor because editing fulfills “a yearning to rescue and nurture.” The evening, which also included a panel discussion, was cosponsored by the Leon Levy Center for Biography at the City University of New York Graduate Center. Follow this link to view his speech and hear Gordon-Reed and five other biographers Weil nurtured share what makes an editor legendary.

Attendees at the event included, from left to right: Kai Bird, Will Swift, Julia Reidhead, Linda Gordon, Ruth Franklin, Annette Gordon-Reed, David Levering Lewis, Robert Weil, Yunte Huang, and Max Boot.

Remember BIO This Holiday Season

BIO President Will Swift and Vice President Deirdre David recently sent this letter to members:

We hope that as you make your end-of-year gifts, you will consider a tax-deductible contribution to BIO.

Your financial support helps fund our annual conference and our annual awards—the BIO Award for lifetime contribution to the art and craft of biography; the Plutarch for best biography of the year; the Editorial Excellence Award; the Biblio Award for outstanding librarian or archivist; and the Hazel Rowley Prize for best proposal for a first biography.

This coming year we will be inaugurating an annual Caro Fellowship named in honor of Robert and Ina Caro. It will support biographers by paying for travel expenses to visit places and archives associated with their subjects. Your help in funding this major venture would be much appreciated.

We are also sponsoring an international biography conference, to be held on September 19th through 21st in Groningen in the Netherlands, with the Dutch Biography Institute and the French Biography Society. The conference will include biographers from all over the world on panels talking about how biography is practiced differently in different countries. We could use assistance in supporting this exciting new initiative.

Your support will also help augment our services to members and enable BIO to reach out to biography readers and students. It will also help supplement the advance payments for our annual conference, which since our founding in 2010 has been generously covered by our board members.

Since we entered into an agreement in 2017 with Virginia Organizing, a longstanding and highly regarded tax-exempt organization, all donations to BIO are tax-deductible.

Checks should be made out to “BIO/Virginia Organizing.” Enter “BIO Contribution” on the lower left of your check.

Contributors of $250 and above receive a letter from Virginia Organizing recognizing their tax-exempt donation, as required by law. Anyone who contributes less than $250 will receive a letter from BIO acknowledging the tax-deductible donation.

Please send your checks to:

Will Swift
3007 Lake Street
Valatie, New York 12184

We hope you will assist in advancing the growth of BIO and in supporting it assistance to all its members.

With many thanks and best wishes for the holiday season,

Sincerely yours,

Will Swift

Deirdre David

 

Biblio Award Winners Honored

Karen Adler Abramson and the staff at the John F. Kennedy Library
Archives received their 2017 Biblio Award last month from BIO’s James
McGrath Morris. From left to right, the honorees are Laurie Austin,
Textual/Audiovisual Reference Archivist; Maryrose Grossman, Audiovisual
Reference Archivist; Stacey Chandler, Textual Reference Archivist; and
Karen Adler Abramson, Director of Archives. The Biblio Award is presented
annually to recognize a librarian or archivist who has made an exceptional
contribution to the craft of biography.

BIO Announces the Robert and Ina Caro Research/Travel Fellowship

In honor of the work of Robert and Ina Caro, Biographers International Organization has set up an annual research and travel fellowship. BIO members with a work in progress can apply to receive funding for research trips to archives or to important settings in their subject’s lives. This fellowship is a reflection of BIO’s ongoing commitment to support authors in writing beautifully contextualized and tenaciously researched biographies.

The Caro Research/Travel Fellowship is restricted to support of works of biography, e.g., not of history, autobiography, or memoir. The application deadline is February 1, 2018. In the spring of 2018, BIO will award either one $5,000 or two $2,500 fellowships, based on the judgment of the following panel: Kate Buford, Deirdre David, and Marc Leepson.

To apply, go here.

First-time Biographers, Apply Now for the Rowley Prize!

BIO is now accepting applications for the 2018 Hazel Rowley Prize. The aim of this prize is to help a first-time biographer of real promise in four ways: through funding (the $2,000 prize); by securing a careful reading from at least one established agent; a year’s membership in Biographers International Organization (BIO); and publicity through the BIO website and The Biographer’s Craft newsletter, among other outlets.

The prize is named in memory of Hazel Rowley (1951–2011), who was born in London, educated in England and Australia, and was a longtime resident of the United States. A BIO enthusiast from its inception, Hazel understood the need for biographers to help each other. The prize named for her will be given for the fourth time at the next BIO conference, in late spring 2018. Judges for the 2018 prize are the distinguished biographers Stacy Schiff and James Atlas.

The prize is open to citizens or permanent residents of the U.S. and Canada who write in English, are working on a biography that has not been commissioned, contracted, or self-published, and who have never published a biography, history, or work of narrative nonfiction. Biography, as defined for this prize, is a narrative of an individual’s life. Although, group biographies and innovative ways of treating lives will be considered. To apply, click here. The deadline for entries is March 1, 2018.

BIO Calls on Pulitzer Board to Create Separate Category for Biography

Responding to the recent trend of awarding the Pulitzer Prize for Biography or Autobiography to authors of memoirs, Biography International Organization has written to Pulitzer Prize administrator, Mike Pride, asking that the board overseeing the Pulitzer Prizes to create a separate category for biography and a new category for autobiography and memoir. Pride recently left his position but turned over the letter to Dana Canedy, his replacement as administrator.

In a letter signed by BIO Board president Will Swift and Advisory Committee chair Debby Applegate, BIO specifically asked the Pulitzer Prize Board to do the following: 
(1) review the recent history of the prize for “Biography or Autobiography
;
(2) consider biographies on their own merits and thus as their own unique prize category;
(3) consolidate autobiography and memoir into a new and distinct category.

TBC first addressed this issue in June, when James McGrath Morris interviewed David Nasaw on the topic. Nasaw, chair of the Pulitzer Prize Biography/Autobiography Committee in 2015, and a two-time finalist for the Biography Pulitzer prize, said, “It was our understanding that a memoir is a piece of a life, a moment of a life, a part of a life, and it is not documented. There is no corroborating material, there are no additional interviews, there are no newspaper articles, and there is no context provided. A memoir is a work—as the title makes clear—of memory. Autobiography and biographies are not works of memory.”

Commenting on BIO’s effort, Swift said, I am grateful to Cathy Curtis, Steve Weinberg, Jamie Morris, Brian Jones and most of all Debby Applegate for helping me think through the complex issues we present to new Pulitzer administrator Dana Canedy. I look forward to hearing from her and we would be delighted to meet with her and other representatives of the Pulitzer board.

The entire letter is reprinted here.

Ruth Franklin Wins 2017 Plutarch Award

Ruth Franklin received the 2017 Plutarch Award from Plutarch Award Committee chair John A. Farrell.

Ruth Franklin won the 2017 Plutarch Award for Shirley Jackson: A Rather Haunted Life. Members of Biographers International Organization selected the winning book, which was announced at the Eighth Annual BIO Conference on May 20 at Emerson College in Boston. The Shirley Jackson bio had previously won several other honors, most notably the 2016 National Book Critics Circle Award for Biography.

Offering her thanks for the award, Franklin said, “It’s really humbling to receive an award named after Plutarch.” She said that before this year’s event in Boston, she looked back at her notes from past conferences and realized how much she had learned from so many of the people with her in the room. Being part of BIO and a women’s biographers group in New York has shown her, “We aren’t in any way alone in what we do.”

At her first BIO Conference in 2014, Franklin said, she was too shy and intimidated to introduce herself to the big-name biographers she found herself surrounded by; she just “gazed adoringly” at Stacy Schiff, that year’s BIO Award winner, which Franklin joked might have led Schiff to believe she was a stalker. Now, Franklin is preparing an interview with Schiff for the Paris Review. She said she and Schiff discussed how there’s no instruction manual for biographers, everyone approaches the craft a little differently, and that biographers “all have to learn from each other.”

The Plutarch Award Committee originally chose ten semi-finalists before selecting four finalists for the 2017 prize. The other finalists were:

  • Guilty Thing: A Life of Thomas De Quincey by Frances Wilson
  • Hitler: Ascent, 1889–1939 by Volker Ullrich, translated by Jefferson Chase
  • Louisa: The Extraordinary Life of Mrs. Adams by Louisa Thomas

You can see the complete list of this year’s semi-finalists and past winners here

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Pulitzer Stirs Controversy by Awarding the Biography/ Autobiography Prize to Memoirs

By James McGrath Morris

This year the Pulitzer Prize for “a distinguished and appropriately documented biography or autobiography by an American author” was awarded to an author who wrote neither a biography nor an autobiography. In fact, neither did the two finalists in this category. The prizewinner and the finalists all wrote memoirs.

The prize was awarded to The Return: Fathers, Sons and the Land in Between by Hisham Matar. The two finalists were In the Darkroom by Susan Faludi and When Breath Becomes Air by the late Paul Kalanithi.

Further muddying the water was that in 2016 the prize for Biography/Autobiography went to William Finnegan’s memoir, Barbarian Days: A Surfing Life, and one of the two finalists was also a memoir. The other finalist, Custer’s Trials: A Life on the Frontier of a New America, by T. J. Stiles, was moved by the board to the History category and given that prize.

The Pulitzer Prize board’s selection of memoirs two years running for the Biography/Autobiography category has sparked a debate among biographers. Most believe that memoir is a fundamentally different form of writing about a life in that it does not require any form of documentation, especially the kind of research that often distinguishes biographies.

BIO’s board is requesting to meet with the Pulitzer Prize administrator to discuss the continued commingling of biography, autobiography, and memoir. Currently, the Pulitzer Prize organization is seeking a new administrator, since Mike Pride announced his retirement.

To help sort out this this issue, TBC turned to David Nasaw, the distinguished historian, accomplished biographer, and chairman of the advisory board of the Leon Levy Center for Biography at City University of New York. Nasaw is the author of three biographies: The Chief: The Life of William Randolph Hearst; Andrew Carnegie; and The Patriarch: The Remarkable Life and Turbulent Times of Joseph P. Kennedy. The latter two were finalists for the Pulitzer Prize in the Biography/Autobiography category.

James McGrath Morris: You were invited to chair the Biography/Autobiography Committee in 2015 for the prize awarded in April 2016, isn’t that right?
David Nasaw: I was sort of surprised that they gave it to me, if only because I had been a finalist twice but never a winner. Of my three biographies, The Chief was never submitted to the Pulitzer committee, which was a bit of a scandal with Houghton Mifflin. The New York Times wrote about it. Houghton Mifflin just forgot to give them the book. My next two books were finalists. So, everything I say about the Pulitzers should be taken with a grain of salt, because I have a particular history with the prizes.
JMM: Nonetheless, you were chosen as the chairperson for the 2015 awards and you began work by studying the guidelines.
DN: We, the three of us who were on the committee, read the guidelines that we were given very, very, very carefully. And, we interpreted the guidelines as ruling out of competition any memoirs that were not documented. The guidelines that we were given said that for the nonfiction awards it was very important that the materials in these books be appropriately documented. And, they said that there should be some references, footnotes, endnotes, or in the text itself, which gave the reader the confidence that what was being said, or what was being reported, had actually taken place. The Pulitzer guidelines made that abundantly clear.
JMM: Did you have other things by which to guide your deliberations?
DN: In addition to those guidelines, I did a little bit of research, and we all did, on what was an autobiography. How is this defined? And, it was the opinion of the three of us that an autobiography was distinct from a memoir. An autobiography is the writing of a life by the person who lived that life. It does not necessarily have to be cradle-to-grave, but it is written to show how influences of place and time, childhood, adolescence, parenthood, affect the coming-to-age, and the activities, character, personality, and achievements of the adult. It is, in other words, a biography written by the person who is the subject of that biography.

It was our understanding that a memoir is a piece of a life, a moment of a life, a part of a life, and it is not documented. There is no corroborating material, there are no additional interviews, there are no newspaper articles, and there is no context provided. A memoir is a work—as the title makes clear—of memory. Autobiography and biographies are not works of memory.
JMM: What did you do then?
DN: So, we made our determinations clear to the administrator, who was in contact with us. And, we let it be known that after studying and applying the guidelines, we were not considering 30 percent or 40 percent of the books (I don’t know the exact number) that had been submitted under this category. When we finished our deliberations, we were asked to write a report. In it, we explained how we had made our decisions.

Twice afterwards I wrote to the administrator of the prize and I said, “We consider this very important, that the Pulitzer board has to make a decision as to what it’s going to do.”
JMM: What can it do?
DN: We recommended a number of changes to the Pulitzer board to remedy the situation we had encountered. It could establish memoir as a separate category; it could add memoir to the Biography/Autobiography category, so it’s Autobiography/Memoir/Biography; or, it could let publishers know that memoirs should be submitted in the general Nonfiction category. Whatever it decided to do, we argued against it continuing to accept “memoir” nominations in the Autobiography/Biography category because we thought that other jurors would do as we had done, would read the guidelines as we had read them, and not consider the memoir submissions for the prize.
JMM: Then the subsequent selections in 2016 and 2017 must have been a shock?
DN: You can imagine my surprise when, the following year, a book that we would not even have considered for the award, given our reading of Finnegan’s book, was given the prize. And the Stiles book, which was a biography, was moved out of the category, into History. And the second runner-up was a memoir. The following year, this year, there were no autobiographies or biographies. The prize was given to another memoir, and again the runners-up were memoirs.

So, I, having been a judge, I’m not saying the jurors were wrong to do this, I would never say that. But I will say that the guidelines are so written that one committee could read them in a way that appears to be almost diametrically opposed to the way the other committees read them. There’s got to be something wrong there.
JMM: If you were made emperor of the Pulitzer Prize, what would you do to fix this?
DN: I’d simply make a category for memoir. When these categories were first designed, there were very few memoirs. The committee has adjusted all the other awards, certainly all the journalism awards.
JMM: Very often they have.
DN: On a regular basis. Why can’t it pay the same attention to the arts and letters awards?
JMM: And you would be okay with keeping autobiography and biography together as one?
DN: Sure. Sure. And, if the Pulitzer board doesn’t want to do that, then it should add memoir to that list. The fact that Amazon puts memoir into the same category as autobiography and biography doesn’t mean that we should do the same. There has historically been a difference between autobiography and memoir. And a memoir, as we know, is not in the same genre, I don’t think, as biography.
JMM: I was a judge recently on the Western Writers of American prize for best biography. I took out a memoir from the pile of books I was to judge because I didn’t see how you could compare it to biography.
DN: That’s exactly what we did for the 2015 awards. And, I assume from looking at the judging, that’s what had happened earlier.
JMM: When you think of presidential autobiographies, they have a staff who uses all these memoirs and calendars to get the dates right. Their autobiographies may be self-serving, but still, they are biographies of their lives.
DN: Yeah. So, I don’t know what’s going on. I think it is an extraordinary disservice to memoir and to biography. Because these are separate literary genres. It just doesn’t make any sense to me. And again, memoirs are important enough as a genre in the twenty-first century, that they should have their own award.