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Re-Viewing the Lives of Others: “New Biography” in the Early Twenty-First Century

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Re-Viewing the Lives of Others: “New Biography” in the Early Twenty-First Century RE-VIEWING THE LIVES OF OTHERS: “NEW BIOGRAPHY” IN THE EARLY TWENTY-FIRST CENTURY Pamela Graham B.A. (Hons.), Adv. Dip. (Performing Arts) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of English, Creative Writing and Australian Studies School of Humanities and Creative Arts Flinders University July 2016 Contents Summary .......................................................................................................................... iii Declaration ....................................................................................................................... vi Acknowledgements ......................................................................................................... vii Introduction: “The Rumpled Bed of Biography” in the Early Twenty-First Century ............................................................................................................................................ 1 Why biography? Why now? ........................................................................................... 4 “Genre Matters”: Biography and New Biography ...................................................... 10 Theoretical Groundings: Biography Studies and Auto/biography Studies ................... 22 Chapter Summaries: Selecting and Reading “New Biography” ................................... 28 Chapter One: The Personal is Ethical: Creative Nonfiction as New Biography in Print ................................................................................................................................. 32 Creative nonfiction: A twenty-first century methodology for writing biography ......... 36 Recovering lives, post-memoir boom style: The Immortal Life of Henrietta Lacks ..... 43 “This is the story of how I got to know him”: The Confessional Biographer in Joe Cinque’s Consolation ................................................................................................... 59 Conclusion .................................................................................................................... 68 Chapter Two: ‘Breaking the frame’?: Contemporary Graphic Biographies as New Biography ........................................................................................................................ 72 Graphic Biography as a Lens for Historical Memory: Reframing Anne Frank ............ 79 Fragmented and Abstracted Lives: Radioactive: Marie and Pierre Curie: A Tale of Love and Fallout. ........................................................................................................ 109 Conclusion .................................................................................................................. 130 Chapter Three: Visibility and Critique: Contemporary Hollywood Biopics as New Biography ...................................................................................................................... 132 Gus Van Sant’s Milk as New Biography: Convention and Visibility ......................... 144 Todd Haynes’ I’m Not There: The Digital Era Biopic Subject as Allusive, Metatextual “Avatar/s” ................................................................................................................... 169 Conclusion .................................................................................................................. 188 Chapter Four: Online Lives as New Biography – The Case of Wikipedia .............. 192 Getting a (Notable) Life—Wikipedia’s Editorial Policies .......................................... 197 “Who Writes Wikipedia? You Do!”—Wikipedia Authorship ................................... 203 The Wikipedia Biographical Subject .......................................................................... 206 Disrupting the Model—Sockpuppetry & Vandalism ................................................. 213 Conclusion .................................................................................................................. 218 Chapter Five: Death 2.0: Commemorative Websites and Social Networking Memorials as New Biography ...................................................................................... 222 i “Death can make a good story”: The emergence of online memorials at the turn of the century ........................................................................................................................ 229 Participatory Collective Obituaries and Biographical Ethics on Facebook ................ 234 Australian Broadcasting Company’s In Memory of…Crowdsourced Trans/national Obituaries as New Biography ..................................................................................... 245 “Plain of feature, and certainly overweight...” #MyOzObituary: Tweeting Back to the Cultural Politics of the Obituary ................................................................................. 258 Conclusion .................................................................................................................. 266 Conclusion: Reconceptualising “New Biography” .................................................... 270 Bibliography .................................................................................................................. 277 ii Summary Drawing on the insights of modern auto/biography studies, this thesis adapts the term “new biography” to identify and explore innovative examples of biographical representation in the early twenty-first century. Taking a comparative, interdisciplinary approach, I ask: How do biopics, creative nonfiction, graphic and online biographies provide insight into the politics and limits of biographical practice and representation in this “first-person”, technologically-saturated era? I begin in chapter one by exploring a bestselling print form of biographical writing: the creative nonfiction biography. Conceptualising creative nonfiction as both a marketing label and a life writing methodology, I consider two prominent exemplars: Rebecca Skloot’s The Immortal Life of Henrietta Lacks and Helen Garner’s Joe Cinque’s Consolation. I suggest how creative nonfiction biographies confront and make visible post-memoir boom questions of democratic representation and ethics, and how these biographical works reflect the cultural milieu of the first-person, digital era. In chapter two, I move from print to a multimodal form of life narrative: the graphic biography. Via readings of Sid Jacobson and Ernie Colón’s Anne Frank: The Anne Frank House Authorized Biography and Lauren Redniss’ Radioactive: Marie and Pierre Curie: A Tale of Love and Fallout, I explore how the comics form reconfigures the limits of biographical representation and practice. Graphic biographies literally illustrate how life narratives are constructed, authenticated and authorised. Blurring existing boundaries between iii high and low art, graphic biographies amplify the social and cultural work of conventional biography, reframing iconic lives for new readers. Chapter three moves to an examination of the Hollywood biopic. Focussing on Gus Van Sant’s Milk, and Todd Haynes’ I’m Not There, I explore how biopics can be potent cultural and memorial sites that invite viewers to learn about individual lives and marginalised histories, or to engage with contemporary social concerns. Additionally, in a similar way to comics, these filmic life narratives make visible the epistemological limits of biography. Chapter four is the first of two chapters considering some of the ways in which biography manifests online. Here, I consider Wikipedia biographies. As an example of popular, participatory life narrative, Wikipedia biographies indicate the potential of online spaces to replicate off-line traditional scripts and subjects, but also to function as dynamic spaces where the politics and ethics of biography are magnified, broadcast and challenged in unprecedented ways. Finally, chapter five considers online death narratives – forms of biographical representation that emerge in the wake of an individual’s death. I explore three examples: the Australian Broadcasting Corporation’s crowdfunded project In Memory Of…, the Facebook memorial page of Hayley Okines, and Twitter responses to author Colleen McCullough’s The Australian newspaper obituary. In doing so, I illustrate how these online spaces encourage the representation of a greater range of lives and deaths, but also how they can be vital tools for challenging the cultural politics of biography. Ultimately, I argue that these examples of “new biography” work to make visible, revise and remake biographical politics, ethics and epistemologies. They iv suggest biography’s enduring significance as an overlooked, yet vital, complex and evolving practice and representational form in the early twenty-first century. v Declaration I certify that this thesis does not incorporate without acknowledgment any material previously submitted for a degree or diploma in any university; and that to the best of my knowledge and belief it does not contain any material previously published or written by another person except where due reference is made in the text. Signed.............................................................................................. Date.................................................................................................... vi Acknowledgements A version of chapter four appeared in the following publication: “‘An Encyclopedia, Not an Experiment in Democracy’: Wikipedia Biographies, Authorship, and the
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