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Sunlight in the Garden of Biography: A Conversation with Megan Marshall, Winner of the 2022 BIO Award

Interview conducted by Holly Van Leuven, editor of The Biographers Craft

Editor’s Note: This interview first appeared in the April 2022 issue of The Biographers Craft, the members’ publication of BIO. Megan Marshall is the distinguished biographer of The Peabody Sisters: Three Women Who Ignited American Romanticism (Houghton Mifflin, April 2005, winner of the Francis Parkman Prize and the Mark Lynton History Prize), Margaret Fuller: A New American Life (Houghton Mifflin Harcourt, March 2013, winner of the 2014 Pulitzer Prize in Biography) and Elizabeth Bishop: A Miracle for Breakfast (Houghton Mifflin Harcourt, February 2017). A more complete reckoning of Marshall’s accomplishments can be read here.

While it is a longstanding tradition for the BIO Award Winner to be interviewed for The Biographer’s Craft, this interview also presents a unique situation: I have known Megan since 2011, when I was a student in her personal essay-writing class at Emerson College, in which I admitted one evening after the other students streamed out of the room that I was interested in writing biography. Among her many kindnesses to me, Megan introduced me to BIO in 2012. While we certainly never imagined a scenario a decade later where I would be editing TBC at the time that Megan won the BIO Award, here we are. Our ensuing conversation reflects some of our shared history and, in part, the powerful role of mentorship in biography. This conversation has been condensed here.

It seems common for very reasonable and talented writers to feel like the title “biographer” is too heavy a cloak to step into, even if they have done significant research on a subject or published a biography. “Writer” seems more approachable than “biographer.” What do you make of that idea?

I think every writer, whatever the genre, feels they aren’t a “real” writer until their first book is out there, between hard (or soft) covers. And I think we’re right to feel that way. The need to prove ourselves keeps us going through the hard slog of research and writing, and enforces a necessary humility in the face of so big a project—the project of knowing and summing up another person’s life. It gives us a proper respect for those who have already gotten there, those from whom we can learn how it’s done. And yet, the work of biography is so long. I also believe it’s reasonable, especially if you’re writing a first biography of someone, to consider yourself that subject’s biographer, once you are well into the work. No one else is! (Let’s hope. Competing biographers are an all-too-common added pressure!)

When did you first start to consider yourself a biographer?

When I began work on The Peabody Sisters in 1985, I thought the book was going to be a kind of historical survey of women’s choices, maybe a bit like Phyllis Rose’s Parallel Lives: Five Victorian Marriages, which I loved. I knew a few biographers—Justin Kaplan, an enormously generous man, was a friend. I met Jean Strouse at a party in [Kaplan’s] Cambridge home while she was researching Alice James, and Jim Atlas was a guest speaker in a poetry class of mine at Harvard. I knew how hard the work was, the suffering they all experienced as their projects dragged on, as well as the intense absorption and even identification they felt with their subjects, all of which I probably found subliminally attractive in a masochistic sort of way. To quote Tom Hanks in A League of Their Own: “It’s the hard that makes it great.” I’ll admit my heart sank when I realized I was writing a “full-dress” biography (a term Robert Richardson used), and I lived in fear thereafter, because I had no idea what I was doing! But of course, no one does, the first time out.

I kept telling myself, just write the book you would want to read on the subject—that’s all you can do. I had read a lot of biographies, including [those by] Kaplan, Strouse, and Atlas, of course, all excellent models. Maybe the form had also entered my subconscious, showing me the way.

Your biographies have been on the scene, shaping the genre, and influencing the cultural conversation for more than 15 years now. But you have also had many other responsibilities beyond “biographer” at the same time, not to mention all you did before The Peabody Sisters burst onto the biographical scene, and new responsibilities you’ve taken on since publishing Elizabeth Bishop. What is it like to have such a successful career as a biographer, to the extent that it might obscure your other accomplishments? Or is it freeing, like having discrete chapters of a book, to know when you are in a “biography” period of your life?

I have a lot of trouble devoting myself to more than one thing at a time. When my two daughters were young, I knew I’d have to put my writing on the back burner. They needed too much of me, and their “deadlines” couldn’t be put off. They were born seven years apart, so the years of their youths were many! My editor at Houghton Mifflin (the second of five, over 20 years), said he would “do me a favor” and take my book off the schedule. I didn’t have any idea what he was talking about, but I guess that meant they weren’t going to call me on the carpet, and to their credit they didn’t. But it was very hard, because I think I’m essentially a creative person, and I don’t feel that great if I’m not making something with words. There was a long dark time for me professionally, which may have been hard on my daughters, even as I felt I was “giving” them my all. I wasn’t sure I’d ever finish The Peabody Sisters, and I had to come to terms with that possibility, which in a way was liberating—like being taken off the schedule, I guess.

I admire younger biographers who seem to do a better job of combining parenthood with their writing lives—I think of Abby Santamaria and Louisa Thomas, to name just two of many. I don’t know how they do it, but perhaps it’s because they expect to do it. And, terrible as the child care system is now, it’s much better than it was when my kids were young. No one feels guilty about “putting” their kids in daycare, and daycare is better and more widely available. When I was little, there was almost nothing, and my artist mother struggled. The Massachusetts public schools didn’t have kindergartens until sometime in the 1960s, and where I grew up in California, preschool (a half-day cooperative, which parents staffed) was avant-garde—as outlandish as breastfeeding and natural childbirth!

It was easier for me to teach and write than to be a parent and write. I didn’t begin teaching full time until I was in my early 50s, when I was fortunate to find a good job at Emerson College, with many talented student writers like you, Holly.

We are in BIO because we believe the writing of biography is urgent and important work. And yet good biographies involve numerous challenges: they often take longer to write than other kinds of books; they rely so much on paper records (which can mean expensive research); and they often don’t reap the financial rewards of many other kinds of writing. How do you see biography continuing for the next decade or so?

There is an undying interest in biography in readers. The question is how to tap into it. I’m excited about the many new ways biographers are going about the work these days. There have always been experiments, but now there are more than ever. Perhaps the permutations are a bit like the way film and television are also morphing, transmuting. The audiences may be fragmenting along with that, and the financial rewards uncertain. But one should never write with the expectation of material success, even as you must write with the conviction that others will want to read the story you’re telling. The narrative needs to throb with that urgency—or at least pulse!

What are you currently working on? How has the pandemic disrupted or diverted your plans? What is on your horizon for the rest of 2022 and beyond?

I’ll be talking a bit about this—the disruptions of recent years—in my keynote speech. I hope BIO members will listen in! One current project I’m particularly pleased about, though, is the first Library of America edition of Margaret Fuller’s writings. It’s shocking there has never been one. I’m coediting the book with two excellent Fuller scholars, Brigitte Bailey and Noelle Baker. We hope the book will be out in 2024.

Finally, on a personal note if I may, I have always been impressed with (and blessed by!) your gifts as a mentor. You have a knack for appearing at just the right time and offering of your time and talents in a way that is meaningful. One example: In 2012, I had landed in Los Angeles for the first time ever when you emailed to say, “I’m not sure when you’ll be in Los Angeles, but this BIO conference is going on. . .” It was being held that weekend, within walking distance of where I was staying (a small miracle for LA!) but I wouldn’t have even known about it without your writing me. Do you have thoughts to share about mentorship? How have you gotten so good at it? Is it a practice you cultivate?

The pleasure of helping someone out is much more lasting than what a friend calls the “ta-da! moments” that have come my way. It’s a happier kind of happiness. And I’m also enormously grateful to my own mentors and more experienced writer friends who believed in me before I did, who thought I could finish The Peabody Sisters when I wasn’t sure of it. I remember them all, and often precisely what they said, because I lived on their words of encouragement. I would like to be helpful to others in the same way, and I try to see the opportunities. It’s also true that young writers grow up to become friends and colleagues from whom I can learn. And who knows, maybe one day you will be helping me out. I remember when two different senior biographers I’d admired deeply asked me to write blurbs for their new books. I felt a little sad about it—these were gods to me, and gods don’t need blurbs, especially from me! But I felt honored to be asked, and I did my best to return their generosity in this small way.

I want to say something more about Jim Atlas. I didn’t know him well, as so many others in BIO did. But he was the first biographer I ever met, when he visited Jane Shore’s poetry workshop. (Notice I call him a “biographer,” even though he wasn’t yet done with his Delmore Schwartz—but he was a biographer in my eyes!). I don’t think he ever knew this, but after I’d published The Peabody Sisters, I told Lindy Hess, another departed friend who ran the Columbia Publishing Course for decades, that I’d always wanted to write a short biography for Jim Atlas. She asked me which subject I’d choose, and I said Margaret Fuller. Lindy said—write the book, but don’t do it for Jim’s series. He can’t pay enough. I probably wouldn’t have written Margaret Fuller if it weren’t for Jim. And then Jim finally asked me to write a short book and the idea still excited me. I suggested Elizabeth Bishop, and I was under contract for a 30,000-word biography when I discovered a whole cache of Bishop papers that I knew meant that book would get bigger, too. Jim was the shadow in my garden of biography all along, to adapt the title of his last book—or maybe he was the sun!—and I’m glad to have the chance to say so here.

Megan Marshall will deliver the Keynote Address at the 2022 BIO Conference on Saturday, May 14, at 12:30 p.m. (Eastern).

 

BIO Announces Zoom Event with Gerald Howard

Update: The recording of this event is available here

The next session in our online workshop series “How to Read Biographies Like a Writer” has been scheduled for March 30 (7 p.m. Eastern/6 p.m. Central). The hourlong conversation will feature an esteemed publishing veteran, Gerald Howard, and his intriguing selection: the late Patricia Bosworth’s Montgomery Clift, which he describes as “the best celebrity biography (so-called) of the past fifty years” and a model for all “biographers who have to deal with sad and scandalous aspects of public figures, especially in the arts.” Those who’d like to read the book ahead of time can readily find copies available.

Gerald Howard is a recently retired book editor who worked with numerous biographers over the course of his career. He had the pleasure of reissuing Bosworth’s biography of Diane Arbus in the mid-nineties when he worked at Norton. His essays and reviews have appeared in The American Scholar, the New York Times Book Review, n+1, Bookforum, Slate, the Los Angeles Review of Books, and other publications. He is currently writing a biography of the influential editor and critic Malcolm Cowley.

Howard will be interviewed by Steve Paul, BIO board member and member of the online workshop committee.

Please join us for what will prove to be a lively and enlightening discussion on the craft and creation of biography.

Date: Wednesday, March 30, 7 p.m. Eastern/ 6 p.m. Central

The event will also be recorded and available for later viewing.

REGISTER HERE

 

 

 

BIO 2022 Conference Registration is Open!

The 2022 BIO conference will take place online Friday through Sunday, May 13–15, 2022. Panels, social hours, and roundtables are live and take place in real time. Other events are prerecorded and may be watched at your convenience, as indicated. The panels will also be recorded and available to conference participants a week or two after the conference itself.

REGISTER HERE

Detailed session information is available here.

The cost of registration is $49 for BIO members, $99 for nonmembers. Those in need of financial assistance may apply for a Chip Bishop Fellowship here.

The conference will begin with the James Atlas Plenary, in which two experimental biographers address the theme of the conference: “Disrupting the Conventions of Biography.” Plenary speakers will be Craig Brown, author of 99 Glimpses of Princess Margaret and 150 Glimpses of the Beatles; and George Packer, author of Our Man: Richard Holbrooke and the End of the America Century.

On Saturday the 2022 BIO Award winner, Megan Marshall, will deliver the keynote address. A long-time advocate for biography and biographers, Marshall is the author of The Peabody Sisters: Three Women Who Ignited American Romanticism; Margaret Fuller: A New American Life; and Elizabeth Bishop: A Miracle for Breakfast. Her books have received multiple awards, including the Pulitzer Prize for Margaret Fuller.

Panels on the basics of biography, its craft, its business aspects, and its recent disruptions are offered on all three days. Sixteen live Zoom panels will include Biography in the Age of #metoo; Biography in Different Forms; Biography in the Worst of Times; Biographies of Families and Family Members; Black Women’s Biography; and Bertelsmann and the Future of Publishing.

Also offered will be round tables on various subjects, short readings of new books by members, announcements of the Biblio award and fellowship winners, and the announcement of the Plutarch Award for the best biography of 2021, as judged by biographers. New this year will be two virtual social hours, one on Friday afternoon and the other on Sunday evening.

BIO members who have a new biography published between June 1, 2021 and June 1, 2022 are invited to participate in the conference reading. Self-published books are not eligible. Please send the title of your book, the name of its publisher, and the month of publication here.

 

 

 

 

BIO Zoom Happy Hour on Feb. 22

Chase away the winter blues with an hour of social networking with your fellow biographers. It’s been almost three years (!) since our last in-person conference, in May 2019. We miss getting to mingle with old friends and hear how their projects are going, as well as meeting new biographers and learning about their projects.

The BIO Online Event Committee therefore invites you to our first virtual happy hour, where you can meet and socialize with fellow biographers. The event will begin with some general comments from the committee, and then we will rotate among smaller breakout rooms, randomly assigned. Each “room” will have a moderator from the committee or a member of the BIO board. This is your time to meet your fellow biographers but also to share some of the challenges you are facing in your work, to help us learn how we can better serve you as we develop our online offerings. We hope to see you there!

This event will not be recorded.

Date: Tuesday, Feb. 22, 7-8 pm Eastern time
Register here: https://us06web.zoom.us/meeting/register/tZArfuusqjwsGdzjbNNOXXfJr4IVoPLGPcAz

BIO Online Event Committee:

Anne Boyd Rioux (chair) is a National Endowment for the Humanities Public Scholar and the author of three books, including Constance Fenimore Woolson: Portrait of a Lady Novelist, chosen as one of the ten best books of the year by the Chicago Tribune. She is a member of the BIO board of directors and a BIO coach.

Steve Paul, a BIO board member, is a longtime journalist, book critic, and author of Literary Alchemist: The Writing Life of Evan S. Connell, recently published by the University of Missouri Press. His previous book was Hemingway at Eighteen: The Pivotal Year That Launched an American Legend (Chicago Review Press). A New England native, he lives and writes in Kansas City, MO.

Holly Van Leuven is the recipient of the inaugural BIO Hazel Rowley Prize and the author of Ray Bolger: More than a Scarecrow (Oxford University Press, 2019). She is the editor of The Biographer’s Craft and a member of the BIO board of directors.

BIO Announces Zoom Event with Anne Zimmerman

The recording of this event is available here

Anne Zimmerman

BIO’s “Reading Biography Like a Writer” series continues with its third Zoom event, featuring Anne Zimmerman on Thursday, January 27, at 7 p.m. (Eastern Time). In conversation with Anne Boyd Rioux, Anne Zimmerman will discuss what biographers can learn about the craft from the recently published Come Fly the World: The Jet-Age Story of the Women of Pan Am (HMH 2021). Julia Cooke’s Come Fly the World tells the story of several “ordinary women” who embraced the liberation of a jet-set life by working as stewardesses for the iconic Pan Am Airlines. Set against the backdrop of the Vietnam War, the book is a biography writer’s lesson in how to write about subjects who lack extensive archives. This conversation will help first-time biographers, those working on family history projects, and anyone exploring how big historical moments (the Vietnam War, the feminist movement) touch writing about the lived experiences. Reading the book ahead of time is not necessary, but if you can read at least part of it, that would surely enrich your experience. The event will also be recorded and available for later viewing.

REGISTER HERE

Anne Zimmerman’s first book, An Extravagant Hunger: The Passionate Years of M.F.K. Fisher (Counterpoint), is the product of extensive research at Harvard’s Schlesinger Library. She edited two subsequent collections of the noted food writer’s work: Love In A Dish and Other Culinary Delights and M.F.K. Fisher: Musings on Wine & Other Libations. She lives in Portland, Oregon and has taught for many years in Stanford University’s Continuing Studies Program, including a course on biography writing. She is finishing a memoir.

Anne Boyd Rioux is a member of BIO’s Board of Directors, a BIO coach, and the author of Meg, Jo, Beth, Amy: The Story of Little Women and Why It Still Matters (Norton), chosen as one of the best books of 2018 by the Daily Mail and Library Journal. Her biography Constance Fenimore Woolson: Portrait of a Lady Novelist (Norton) was chosen as one of the ten best books of 2016 by the Chicago Tribune. She is the recipient of four National Endowment for the Humanities awards, two for public scholarship. You can find her online at https://anneboydrioux.com/.

 

 

BIO 2022 Fellowships and Prizes

BIO encourages all members to review its three fellowships, now accepting applications for 2022. Please share information about the Rollin Fellowship and the Rowley Prize, which are open to nonmembers, with your friends, colleagues, and networks.

The Hazel Rowley Prize
The annual Hazel Rowley Prize is open to first-time biographers. The winner receives $2,000; a year’s membership in BIO; registration to the annual BIO Conference; and publicity for the author and project through BIO’s website and newsletters. In addition, BIO engages an established agent to review and critique the recipient’s book proposal. The deadline for entries is February 1, 2022. Apply here.

Robert and Ina Caro Research/Travel Fellowship
In honor of the work of Robert and Ina Caro, BIO offers an annual research and travel fellowship of $2,500 or $5,000. BIO members with a work in progress can apply to receive funding for research trips to archives or to settings important to their subjects’ lives. This fellowship is a reflection of BIO’s ongoing commitment to support authors in writing beautifully contextualized and tenaciously researched biographies. The deadline for entries is February 1, 2022. Apply here.

Frances “Frank” Rollin Fellowship
The Frances “Frank” Rollin Fellowship awards $2,000 to an author working on a biographical work about an African American figure (or figures) whose story provides a significant contribution to our understanding of the Black experience. This fellowship also provides the recipient with a year’s membership in BIO, registration to the annual BIO Conference, and publicity through BIO’s marketing channels. The deadline for entries is March 1, 2022. Apply here.

BIO Announces Zoom Event with Debby Applegate

Update: The recording of this event is available here.

Debby Applegate

BIO’s “Reading Biography Like a Writer” series continues with its second Zoom event, featuring Debby Applegate on Tuesday, December 7, at 7 p.m. (Eastern Time). In conversation with Holly Van Leuven, Applegate will discuss what biographers can learn about the craft from Nancy Milford’s groundbreaking feminist biography Zelda: A Biography (Harper & Row, 1970). The book explores the tumultuous relationship between Zelda Sayre Fitzgerald, a great beauty and gifted writer, and her more famous husband, F. Scott Fitzgerald.

Reading the book ahead of time will not be necessary for gaining insights about voice, structure, use of sources, and more. But if you can read at least part of it, that would surely enrich your experience. The event will also be recorded and available for later viewing.

REGISTER HERE

Debby Applegate is a former president of BIO and the author of the newly released Madam: The Biography of Polly Adler, Icon of the Jazz Age (Doubleday), as well as The Most Famous Man in America: The Biography of Henry Ward Beecher (Doubleday, 2006), for which she won the 2007 Pulitzer Prize for Biography or Autobiography. She is the chair of the BIO Advisory Council.

Holly Van Leuven is the author of Ray Bolger: More than a Scarecrow (Oxford University Press, 2019) and the inaugural winner of BIO’s Hazel Rowley Prize (2014). She is the editor of The Biographer’s Craft.

BIO Presents its 2021 Editorial Excellence Award to Bob Bender of Simon & Schuster

Update: The recording of this event is available here.

Bob Bender will receive BIO’s 2021 Editorial Excellence Award, presented annually to an outstanding editor of biography, on Thursday, November 18 from 7 p.m to 8 p.m. Eastern, at an online event featuring several of his authors: Marie Arana, David W. Blight, Scott Eyman, and Jeff Guinn.

Registration for the Zoom event is available at this link.

Bender is Vice President and Executive Editor of Simon & Schuster, where he has worked since 1981. He acquires a wide range of nonfiction, including biography and autobiography, history, current events, popular science, popular culture (primarily film and music), and narrative nonfiction with a distinctive voice. Authors that he has published also include Muhammad Ali, Marie Arana, Miles Davis, Jonathan Eig, David Hackett Fischer, Linda Greenhouse, John Kerry, Naomi Klein, Pauline Maier, David McCullough, Gilda Radner, James Shapiro, and Jean Edward Smith.

Kai Bird, chair of BIO’s Award Committee, with Tim Duggan, Ruth Franklin, Peniel Joseph, Candice Millard, and Will Swift, praised Bender for his “cultivation and support for so many illustrious biographers over many decades.”

Marie Arana was born in Lima, Peru. She is the author of Silver, Sword, and Stone: Three Crucibles in the Latin American Story, chosen by the American Library Association as the top nonfiction book of the year; Bolivar: American Liberator, winner of the Los Angeles Times Prize for Biography; the memoir American Chica, a finalist for the National Book Award; two novels, Cellophane and Lima Nights; and The Writing Life, a collection from her well-known column for The Washington Post, where she was editor-in-chief of Book World. She was the inaugural Literary Director of the Library of Congress, founder of the Literary Initiatives division of that library, and one of the principal architects of the National Book Festival. In 2020, she received an award for her lifetime literary work from the American Academy of Arts & Letters. A writer-at-large for The Washington Post, she divides her time between Washington, D.C., and Lima, Peru.

David W. Blight is Sterling Professor of History and director of the Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition at Yale University. He is the author or editor of a dozen books, including Frederick Douglass: Prophet of Freedom, which won BIO’s Plutarch Award; American Oracle: The Civil War in the Civil Rights Era; Race and Reunion: The Civil War in American Memory; and annotated editions of Douglass’s first two autobiographies. He has worked on Douglass much of his professional life and been awarded the Pulitzer Prize, the Bancroft Prize, the Abraham Lincoln Prize, and the Frederick Douglass Prize, among others.

Scott Eyman was the literary critic at The Palm Beach Post and is the author or coauthor of 15 books, including the bestselling biography John Wayne: The Life and Legend; Hank and Jim: The Fifty-Year Friendship of Henry Fonda and James Stewart; Empire of Dreams: The Epic Life of Cecil B. DeMille; Lion of Hollywood: The Life and Legend of Louis B. Mayer; Print the Legend: The Life and Times of John Ford; and, with the actor Robert Wagner, the bestsellers Pieces of My Heart and You Must Remember This. Eyman also writes book reviews for The Wall Street Journal, and has written for The New York Times, The Washington Post, and the Chicago Tribune. He and his wife, Lynn, live in West Palm Beach.

Jeff Guinn is the bestselling author of many books, including War on the Border: Villa, Pershing, The Texas Rangers and an American Invasion; Vagabonds: The Story of Henry Ford and Thomas Edison’s Ten-Year Road Trip; The Road to Jonestown: Jim Jones and the Peoples Temple; Manson: The Life and Times of Charles Manson; Go Down Together: The True Untold Story of Bonnie & Clyde; The Last Gunfight; and The Autobiography of Santa Claus. The former books editor at the Fort Worth Star-Telegram and an award-winning investigative journalist, he is a member of the Texas Institute of Letters and the Texas Literary Hall of Fame. He lives in Fort Worth.

BIO’s Editorial Excellence Award has been presented since 2014. Past recipients are Tim Duggan, Robert Gottlieb, Gayatri Patnaik, Jonathan Segal, Ileene Smith, Nan A. Talese, and Robert Weil.