The Paris Review Notes from a Biographer Archives - Page 3 of 5

August 22, 2011
Notes from a Biographer

The Late, Great Theodora Keogh

By Joan Schenkar

Theodora Keogh in Paris, 1948. Copyright Karl Bissinger.

For the last fifteen or sixteen years I’ve been making portraits of people (in rich, resonant, analog sound) with an old cassette recorder: spoken-word portraits.

In my library in Paris are hundreds of magnetic tapes stacked in their fragile, transparent cases. Each tape carries the specific testimony of a single person who has lent time, presence, and a few vibrantly unreliable anecdotes to my experiments in biography.

Like Ortega y Gasset’s definition of culture—culture is what remains after you’d forgotten everything you’ve ever read—these tapes are an archive of minds and memories reduced to their absolute essences. Every one of them is worth a thousand photographs to me.

Which is why I’m kicking myself that I never recorded the voice of my wonderful friend, the late, great Theodora Roosevelt Keogh. Read More
August 1, 2011
Notes from a Biographer

The Angel of Forgetfulness

By Tracy Daugherty

Joseph Heller’s Catch-22 was first published fifty years ago this fall. Heller’s biographer, Tracy Daugherty, marks the occasion with a consideration of the author’s legacy.

Joseph Heller in Rome, summer 1966. Courtesy Erica Heller.

In the early 1970s, during the period he was writing his second novel, Something Happened, Joseph Heller, approaching his fifties, fretted about his health. He was shocked by how bloated he looked in mirrors. The double chins in his publicity photos bothered him. He began working out regularly at a YMCA in the sixties on Broadway in Manhattan, running four miles a day on a small track there. “The Angel of Death is in the gym today,” said the Y’s patrons every so often. Not infrequently, ambulance crews showed up to cart away, on a stretcher, an elderly man in a T-shirt and shorts who had collapsed while running or doing chin-ups.

While exercising, Heller avoided meeting anyone’s eyes. He pursued his laps with grim seriousness. He worried about the slightest ache or twinge—in his lower back, bladder, calves, the tendons of his ankles, or bottoms of his feet. Sometimes, faint vertical pains shot through his chest and up through his collarbone. This was a hell of a way to try to feel better.

In this melancholy spirit (stretching, rolling his arms to ease the needling pains), he squirreled away portions of Something Happened in a locker at the Y, in case fire ran through his apartment or his writing studio, or he keeled over one day.

In the spring of 1974—a fit fifty-one-year-old—he completed the manuscript to his satisfaction and decided to copy it for his agent. He took his teenage daughter, Erica, with him to the copy shop. “I figured if a car hit me, if I got mugged, or if I dropped dead of a heart attack, the manuscript might still be saved,” he later told Erica. Read More
July 7, 2011
Notes from a Biographer

The Subject Talks Back

By Deborah Baker

Maryam Jameelah, the subject of Baker’s biography The Convert.
Anyone who has ever written about a living person knows the wait. Sometimes you receive a laundry list of grievances. Sometimes word trickles back of rage and feelings of betrayal. There might be a letter from a law firm or simply a punishing silence. When all is said and done, the person you have written about has a kind of hold over your work that a reviewer can only dream of. I’d nearly given up waiting when there it was, wedged between the water bill and a bank statement, an airmail envelope addressed to me. Familiar handwriting, familiar return address in Lahore, Pakistan.

My first book was a biography of an obscure American poet born in 1901. When I approached her in 1989, she was living as a recluse in a Florida citrus grove. Fifty years before, she had not merely renounced her own poetry but everybody else’s as well. Through an intermediary, she conveyed to me that I should write a sample chapter (she assigned the topic). If it met with her approval, we would work together on her biography. She could use a secretary, she said.

But before I could reply, she fell ill. When she heard I had proceeded without her, she wrote me angrily, calling me “sluttish.” Her minions sent me lengthy poison-pen missives, dissecting my character. She never read a word of what I’d written. The day after I sent the final manuscript to the publisher, she had a heart attack, as if my book and her life were paired like Siamese twins and I had killed her by finishing it. This is the kind of magical thinking that binds the biographer to her subject.

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June 22, 2011
Notes from a Biographer

W. Eugene Smith’s Wichita

By Sam Stephenson

A postcard of Wichita, KS, ca. 1900. The Wichita State University Library Special Collections.

Last year I visited Wichita, Kansas, for the first time, a guest of the Ulrich Museum of Art, where I gave a talk on W. Eugene Smith, a native son. At dinner afterward, the photographer Larry Schwarm asked, “Do you have pictures of Smith all over your house?” I’ve come to expect the question of whether I identify with Smith’s obsessions, but it had never been framed like this. I paused, pondered, then answered that I didn’t have any pictures of Smith in my house. I do have pictures of Joseph Mitchell, Flannery O’Connor, Bernard Malamud, Miles Davis, Bill Evans, Thelonious Monk, Emmylou Harris, and the hand of Wilco’s drummer, Glenn Kotche. But none of Smith.

I visited Wichita again last April to give another talk at the Ulrich. Like the first trip, I spent several extra days soaking up the town and researching its history, trying to learn as much as I could about Smith’s roots from the vantage of nearly a century later. Nabokov once wrote that examining his childhood was “the next best thing to probing one’s eternity.” But what about probing someone else’s childhood, someone long dead? Rather than my memory or other people’s memories (there aren’t many alive who can attest to Smith’s childhood), I’m investigating faint footprints—artifacts, news clippings, whatever I can find. It seems flimsy, never quite enough.

Between 1900 and 1930, Wichita’s population grew almost five-fold, from 24,000 to 110,000. It was a pioneer town. With few binding traditions and conventions, anything could happen. People could move to town from the farm and figure out ways to make money. It became known as “Magic City.” It also became known as the “Air Capitol of the World,” home to Cessna, Beech, and other aircraft manufacturers during the ascent of that industry.

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May 26, 2011
Notes from a Biographer

Mary Frank

By Sam Stephenson

Mary Frank in her studio, 2011. Photograph by Kate Joyce.

The photographs in Mary Frank’s current solo show at DC Moore Gallery were made over the last three years, yet they evoke decades of history. The items in the photographs form a kind of collage: she composed new paintings directly onto the planks of her studio floor, then arranged sculptures, other works of art (some dating back fifty years), rocks, glass, torn paper, fragments of paintings, and fire around the new painting. It’s like she created abstract, autobiographical stage sets. Then she photographed the results.

I first met Mary through her cousin Paul Weinstein. Their grandfather, Gregory Weinstein, had emigrated from Russia in the 1870s and started a multilingual printing company on Varick Street, a business Paul still runs today. I met him in the early days of the Jazz Loft Project through David Levy, the former director of the Corcoran Gallery in Washington. David told me that Paul was “a finisher,” someone who could help me organize a complicated New York project from my home base in North Carolina. That proved to be true: among other things, the seed of a four-year collaboration with Sara Fishko and WNYC on the Jazz Loft Radio Project came from a public event Paul threw for me at the Center for Jewish History on Sixteenth Street in 2005.

One night around that time, Paul and I were having dinner downtown. I told him I’d spent the afternoon with photographer Robert Frank in his Bleecker Street studio. “My cousin Mary used to be married to him,” Paul said nonchalantly. I startled to attention, the small town of New York City revealing itself to me once again. Until then I only knew Mary Frank as a figure in a photograph. She was the beautiful, exhausted young mother in the car with her two children at the end of Robert Frank’s The Americans—the woman keeping their kids fed, clean, and happy on the road, while her husband completed the work that would make him immortal in the history of photography.

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April 20, 2011
Notes from a Biographer

Tamas Janda

By Sam Stephenson

Carole Thomas cutting Tamas Janda’s hair, with Smith’s recorders, ca. 1960. Photograph by W. Eugene Smith. Courtesy of the W. Eugene Smith Archive at the Center for Creative Photography, The University of Arizona. © The Heirs of W. Eugene Smith

In the fall of 1958, things weren’t going well for eighteen-year-old Tommy Johns. He had graduated from Croton-Harmon High School that year and was working as a janitor, while living with his mother, stepfather, and four younger siblings in an unheated, drafty wood house about two hundred yards from the river and railroad tracks. His parents had money for beer, cheap liquor, and little else. One morning, Tommy got up, put on his secondhand Swedish army coat, told his family he was going to the corner store for cigarettes, and hitchhiked the fifty miles to Manhattan.

Let out of the car in Greenwich Village, he started wandering up Sixth Avenue, choosing that route for no particular reason—maybe just because the cars were going that way. When he crossed the intersection at Twenty-eighth Street, he was surprised to see the familiar figure of W. Eugene Smith standing on the curb next to a tractor-trailer.

Tommy had gone to school with Smith’s son, Pat, and daughter, Marissa, in Croton. He had been over to their spacious, stone home in a quiet, leafy neighborhood on the other side of town. Tommy knew that Mr. Smith had been a famous photographer for Life magazine, covering World War II and other important subjects, yet here he was, standing on the sidewalk smoking a cigarette and looking forlorn.

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