![]() large belief in romantic and sexual love stands behind all Shirley Hazzard’s writing,” Olubas tells us. Olubas believes, and I agree, that Hazzard pursued one erotic object more than all others, poetry, which is inseparable from Eros in its other meanings. Among the best of these, Brigitta Olubas’ Shirley Hazzard: A Writing Life is not overstuffed or particularly arcane in structure, not weighted down with newly discovered scandal, but lucidly and even gracefully organized, guided by a compelling thesis. ![]() And we find a happy medium-sized biography in Mark Eisner’s on Neruda or Ann-Marie Priest’s on the great Australian poet Gwen Harwood. We have authoritative doorstoppers from Langdon Hammer on James Merrill to Heather Clark’s numbingly detailed book on Sylvia Plath. Curran on Diderot, Clare Carlisle on Kierkegaard. Some good recent biographies have been thematic or experimental: Katherine Rundell on John Donne, Frances Wilson on D. There is always more than one way to tell a story. Perhaps it satisfies some element of life writing we also get from fiction, adding a dose of gossip and the illusion that we can actually know the truth of other people’s lives. Among the literary genres, biography appears to be thriving. ![]()
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