Everything is biographical, Lucian Freud says. What we make, why it is made, how we draw a dog, who it is we are drawn to, why we cannot forget. Everything is collage, even genetics. There is the hidden presence of others in us, even those we have known briefly. We contain them for the rest of our lives, at every border we cross.
The problem of forgetting might not torment us so much if we could only convince ourselves that remembering isn't important. Perhaps the things we learn - words, dates, formulas, historical and biographical details - don't really matter. Facts can be looked up. That's what the Internet is for.
Landscapes can be deceptive. Sometimes a landscape seems to be less a setting for the life of its inhabitants than a curtain behind which their struggles, achievements and accidents takes place. For those who are behind the curtain, landmarks are no longer only geographic but also biographical and personal
I have always been averse to theorizing about the art or craft of biography. Like Disraeli's biographer, Lord Blake, who offers the cautionary analogy of the biographical centipede unsure of her next step because of too much cerebration, I have made it my practice to let the facts find the theory.
David Levering Lewis
Several years ago, I was creating a Christmas present for the family, a self-published cookbook featuring recipes my grandmother had collected and created over decades. While interviewing her for the biographical section, she began to talk about her courtship with my late grandfather.
'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.
I think too much is known about me already. I think biographical information can get in the way of the reading experience. The interchange between the reader and the work. For example, I know far too much about Norman Mailer and Kurt Vonnegut. Because I know as much as I do about their personal lives, I can't read their work without this interjecting itself. So if I had it to do over, I'd probably go the way of J.D. Salinger or Thomas Pynchon. And just stay out of it altogether and let all the focus be on the work itself and not on me.
if I believed that the choice lay between a sacrifice of the completest order of biography and that of the inviolability of private epistolary correspondence, I could not hesitate for a moment. I would keep the old and precious privacy,-the inestimable right of every one who has a friend and can write to him, - I would keep our written confidence from being made biographical material, as anxiously as I would keep our spoken conversation from being noted down for the good of society.
According to energy medicine, we are all living history books. Our bodies contain our histories- every chapter, line and verse of every event and relationship in our lives. As our lives unfold, our biological health becomes a living, breathing biographical statement that conveys our strengths, weaknesses, hopes and fears.
I think 'Comic Book: The Movie' is the apex of my career in terms of making a personal statement that has significance to me and resonates with biographical detail about not only my career, but all the people that I've worked with in my career. All of it's riddled, on- and off-camera, with people I've known and worked with for decades.
[Biographical info on Rita] Born and raised in a Sephardic Jewish family in which culture and love of learning were categorical imperatives, she abandoned religion and embraced atheism. She devoted herself to Science, getting to the point of renouncing marriage for scientific research... Unlike other people, Rita Levi Montalcini was a complete human being.
Biographical history, as taught in our public schools, is still largely a history of boneheads: ridiculous kings and queens, paranoid political leaders, compulsive voyagers, ignorant generals - the flotsam and jetsam of historical currents. The men who radically altered history, the great scientists and mathematicians, are seldom mentioned, if at all.
Biographical history, as taught in our public schools, is still largely a history of boneheads; ridiculous kings and queens, paranoid political leaders, compulsive voyagers, ignorant general the flotsam and jetsam of historical currents. The men who radically altered history, the great scientists and mathematicians, are seldom mentioned, if at all.
In the biographical novel, there's only one person involved. I, the author, spend two to five years becoming the main character. I do that so by the time you get to the bottom of Page 2 or 3, you forget your name, where you live, your profession and the year it is. You become the main character of the book. You live the book.
[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.
One would naturally expect that the Lord Jesus Christ would be sufficiently important to receive ample notice in the literature of his time, and that extensive biographical material would be available. He was observed by multitudes of people, and his own followers numbered into the hundreds (1 Cor. 15:6), whose witness was still living in the middle of the first century. As a matter of fact, the amount of information concerning him is comparatively meager. Aside from the four Gospels, and a few scattered allusions in the epistles, contemporary history is almost silent concerning him.
Merrill C. Tenney
He is not a true man of science who does not bring some sympathy to his studies, and expect to learn something by behavior as well as by application. It is childish to rest in the discovery of mere coincidences, or of partial and extraneous laws. The study of geometry is a petty and idle exercise of the mind, if it is applied to no larger system than the starry one. Mathematics should be mixed not only with physics but with ethics; that is mixed mathematics. The fact which interests us most is the life of the naturalist. The purest science is still biographical.
Henry David Thoreau
the bouquet Between me and the world you are a bay, a sail the faithful ends of a rope you are a fountain, a wind, a shrill childhood cry. Between me and the world you are a picture frame, a window a field covered in wildflowers you are a breath, a bed, a night that keeps the stars company. Between me and the world, you are a calendar, a compass a ray of light that slips through the gloom you are a biographical sketch, a book mark a preface that comes at the end. between me and the world you are a gauze curtain, a mist a lamp shining in my dreams you are a bamboo flute, a song without words a closed eyelid carved in stone. Between me and the world you are a chasm, a pool an abyss plunging down you are a balustrade, a wall a shield's eternal pattern.
In the value-framework of his age the verbal expression of Hallaj's ecstatic state existed as a totality, and the meaning of the expression rested on the biographical evidence and on the dimensions available within the ecstatic state. It was perhaps for this reason that the phrase ana al-haqq could not derive any other meaning except the one dictated by the academic discipline of the Divine Unity. Consequently, al-Haqq became synonymous with the Divinity, and the phrase ana al-haqq was understood to carry suggestions towards the unification of God and man. Thus, "I am the Truth" became transformed to the startling expression of "I am God". However, in the first two hundred years of the controversy, it was Kashf al-Mahjub which had attempted to strike a balance and had indicated that the expression could be made a subject of literary treatment.
The daughter of the literary biographer Leslie Stephen, and close friend of the innovative biographer of the Victorians, Lytton Strachey, Woolf herself put forward, in 'The New Biography' (1927) (reviewing work by another biographer acquaintance, Harold Nicolson), her own memorable theory of biography, encapsulated in her phrase 'granite and rainbow'. 'Truth' she envisions 'as something of granite-like solidity', and 'personality as something of rainbow-like intangibility', and 'the aim of biography', she proposes, 'is to weld these two into one seamless whole' (E4 473). The following short biographical account ofWoolf will attempt to keep to the basic granitelike facts that Woolf novices need to know, while also occasionally attending in brief to the more elusive, but equally relevant, matter of rainbow-like personality.