Biography

Huddie Ledbetter, better known by the prison moniker Lead Belly, was a musical genius born in the southern United States just as Jim Crow laws were starting to bite. He fell foul of an unapologetically racist legal system and ended up serving on a chain gang in 1915, later doing time in state penitentiaries in Texas (1918-25), Louisiana (1930-34) and at Rikers Island in New York (1939). Sheila Curran Bernard takes as her focus the years 1933 to 1935 when, after years of imprisonment, Ledbetter took an academic, John Lomax, to be his manager and organise his entrance into the larger musical world of northern America.

In 1876, writing to his friend Gertrude Tennant, Gustave Flaubert set down a principle that artists and writers should live by: Soyez réglé dans votre vie et ordinaire comme un bourgeois, afin d’être violent et original dans vos œuvres. (Be regular in your life and ordinary as a bourgeois, in order to be violent and original in your work.) The life of the English poet Thom Gunn had its disciplined aspect (he managed to hold down a job at least), but, overall, it was so dedicated to debauchery and excess that it’sa wonder it lasted as long as it did. The story, told in detail by Michael Nott, makes even the least censorious reader sometimes wonder why this seemed like a good idea. Gunn was born in Kent in 1929 to an upper-middle-class intellectual family.

Open one of the major novels by Honoré de Balzac and you are likely to encounter a sentence such as this, from Cousin Bette: ‘Towards the middle of July, in the year 1838, one of those vehicles called milords, then appearing in the Paris squares for the first time, was driving along the rue de l’Université.’ Or this (from César Birroteau): ‘On winter nights there is no more than a momentary lull in the noise of the rue Saint-Honoré.’ It is the same story in Père Goriot (rue Neuve-Sainte-Geneviève), Cousin Pons (Boulevard des Italiens) and others. From the first words of the tale, the reader is cast into the drama of the street. One of the first things to beware of is the mud.

Christopher Isherwood pioneered what is now known as ‘autofiction’ long before it acquired that label. His best known work, Goodbye to Berlin (1939), which later inspired the musical Cabaret, was based on the diaries he kept while living in the Weimar Republic in his twenties. He’d already used the material before in Mr Norris Changes Trains (1935), a brilliant black comedy thriller that deserves to be read alongside more supposedly serious works of modernism. Forty years later, he reworked the experiences yet again in Christopher and His Kind (1977), in which he finally made explicit, for the new gay liberation era, what had been suppressed in the earlier works: his homosexuality, which had previously been outlawed.

George Mallory bookended the 20th century history of Everest with his pioneering attempts in the 1920s to climb the mountain – and with the spectacular discovery, in 1999, of his body high up on the North Face, preserved by the ice for 75 years after he had failed to do so. His flip remark to a journalist that he was climbing Everest ‘because it was there’ became mountaineering’s most celebrated quote, while masking other less noble reasons. Mick Conefrey has become one of our finest gazetteers of the Himalaya, with successive books on K2, Kangchenjunga and later exploits on Everest. Now he turns his attention to a great conundrum of mountaineering history.

The dazzlingly beautiful identical twins Mamaine and Celia Paget were born in 1916 and brought up in rural Suffolk – not the greatest springboard, you would think, for lives at the intellectual heart of the mid-20th century. Yet the list of their friends reads like a roll call of literary notables: Dick Wyndham, Peter Quennell, Cyril Connolly, Bertrand Russell, Sacheverell Sitwell and Laurie Lee. Between them, the twins were proposed to by, among others, Arthur Koestler and George Orwell; had liaisons with Albert Camus and the formidably clever Oxford philosopher Freddie Ayer; quarrelled with Jean-Paul Sartre and Simone de Beauvoir; and received love sonnets from the historian and poet Robert Conquest. At the heart of this book, however, lies the girls’ twinship.

During the various lockdowns I found myself wondering how Iain Sinclair was coping with the restrictions. It seemed unthinkable that this unflinching punisher of pavements could be stuck with 30 minutes round the park. But, as it turns out, sequestering, in a fashion that only the Scots word ‘thrawn’ can do justice to, has resulted in the most archetypal Sinclair book yet. John Deakin is the pariah genius of the title. During the ‘brain-dead hibernation’ of the pandemic, Sinclair got a short-term loan of ‘17 albums of John Deakin’s photographs, fresh prints made from recovered contact sheets; a substantial history of his labours, a flickbook parade of the stunned and waxy faces of his time and place’. From this Sinclair tried to create a ‘psycho-biographic fiction’.

Carl Linnaeus and Georges-Louis Leclerc, Comte de Buffon were both taxonomists, born in the same year (1707), but apart from that they had little in common and never met. Buffon was French, Linnaeus Swedish. Buffon was suave, elegant, tall and handsome (Voltaire said he had ‘the body of an athlete and the soul of a sage’), whereas Linnaeus was a bumptious little man (under 5ft), who was widely regarded as uncouth. Buffon’s funeral was attended by 20,000 mourners but Linnaeus died almost forgotten, after suffering from a brain disease for 15 years. Yet the Linnaean system of taxonomy has survived much better than Buffon’s, which was hardly a system at all.

Telling the story of Sir Roger Casement’s life is a challenge for any biographer. In the land of his birth, he is remembered as a national hero. His remains lie in the Glasnevin Cemetery in Dublin beside the graves of Daniel O’Connell and Charles Stewart Parnell. He is there because he was hanged in Pentonville Prison in August 1916 as one of the leaders of the Easter Rising. The awkward fact that Casement had become opposed to the Rising and had tried to prevent it does not fit either the heroic Irish narrative of his life or the official English account of the wartime traitor who died on the gallows.

Very fine hot day. (Bank Holiday). Sound of band in Lewes from the Downs. Guns heard at intervals. Walked up the down at the back. Got plenty of mushrooms. Butterflies in quantities. Ladies Bedstraw, Roundheaded Rampion, Thyme, Marjoram. This isn’t what we expect from Virginia Woolf, known for her caustic investigations of friends and filigree portraits of her own inner life. But in 1917, after three years of mental illness, she moved to Asheham in Sussex and began a slow but dogged recovery that took the form of these daily walks and list-filled diary entries, which rarely contain the word ‘I’.

Barbara Comyns’s reputation rises and falls like a Mexican wave, making her one of the most rediscovered novelists of recent times. She’s credited with anticipating Angela Carter and for being in the vanguard of tackling themes of traumatic dissociation and the realities of childbirth. Yet younger, trendier writers have regularly eclipsed her. Aged 29, Barbara was broke: a single mother who’d weathered affairs, an abortion and a suicide attempt Every fan remembers their first Comyns novel: the visceral jolt of black humour, the suckerpunch of stark horror. Knowing that she drew from life, we have longed for a biography, and hooray, it’s finally here.