Thoughts and Ramblings
Here is the starting point – my upcoming reading list includes the biography of Giuseppe Tomasi, Prince of Lampedusa, written by Steven Price. And since I haven’t had the chance to read Tomasi’s novel ‘Il Gattopardo’ yet (‘The Leopard’, but please let me use the Italian title, as I absolutely love the sound of the word ‘gattopardo’), I figured this was the perfect moment to catch up. And that is where the dilemma kicked in – novel first, or biography first?
I don’t think I’ve ever read, or even planned to read, an author’s biography and their novel almost at the same time. Until now… Which leaves me with a dilemma – what should I pick up first?
I know, these are purely theoretical thoughts, but since they crossed my mind, let’s explore them.
You could frame the same question differently – do we want the approach of an analyst and researcher, or do we prefer that of an emotionally invested reader?
The analyst and researcher will start with the biography.
- Because this gives them a deep understanding of the novel’s context. First, they will read about historical events, get to know the author’s life, and discover which elements of their experiences might have shaped the plot of the book.
- If the novel tells a story (even in a veiled way) about real people, places, and events, having that biographical knowledge makes it much easier to spot them in the text.
- Knowing what the author’s life and experiences looked like makes it easier to understand why they wrote about a particular topic, what they wanted to convey, and what they wished to share.
The conclusion – If a novel has autobiographical themes or links to the author’s experiences in any way, go for the biography first. That way, you will notice more, understand deeper, and follow all the allusions and references much more closely.
The emotionally invested reader will start with the novel.
- When you don’t know the author’s biography inside out, reading the novel brings pure emotion, without you constantly analysing whether something might be a nod to the writer’s own experiences.
- Sometimes this helps you avoid spoilers, as you don’t know the biographical facts that might give away the plot or hint at how the story unfolds.
- And when you finish the book, still full of emotion, you might want to find out who actually wrote it – what kind of person could create such a thing – and that’s when you reach for the biography.
The conclusion – If a book is pure fiction, only slightly inspired by the author’s life (or not at all), but has a fast-paced plot and elements meant to surprise the reader, it’s better to leave the biography for dessert. That way, you can fully enjoy the thrill of discovering the story first.
‘Il Gattopardo’ isn’t exactly going to be packed with plot twists and breathtaking events, nor will it keep surprising me on every page. It’s more of a contemplative tale, with monumental descriptions and reflections on life and death. On the other hand, it is deeply rooted in the author’s personal experiences. While nobody calls it an autobiography, you can certainly find some critics referring to it as a ‘spiritual autobiography’.
Therefore, the decision has been made – biography first, novel second.
And let me reassure you – there is no wrong order when it comes to reading. But it’s worth deciding, if we have the choice, which way round will bring us more joy.
Are you intrigued by the idea of reading in pairs? I have a few suggestions for you on which biographies and novels you can pick up as a ‘matching set’. The pairs are listed in the exact order I would read them. If you have any questions about my choices, feel free to join the discussion in the comments!
1. Sylvia Plath
Novel – The Bell Jar by Sylvia Plath
Biography – Loving Sylvia Plath: A Reclamation by Emily Van Duyne
In her novel, Plath described her own nervous breakdown, but Emily Van Duyne sheds a completely new light on its roots. She exposes how the writer’s husband turned out to be a master of censorship, control, and ultimately, manipulation.
2. Virginia Woolf
Biography – Virginia Woolf by Quentin Bell (the writer’s nephew)
Novel – To the Lighthouse by Virginia Woolf
Here, the biography gives us a glimpse into the writer’s intimate family life. And once you read the novel, you will realise that Woolf treated this text as a form of self-therapy. Critics even describe it as ‘exorcising the ghosts of the past’, as Woolf’s father was quite the tyrant.
3. Gabriel García Márquez
Novel – One Hundred Years of Solitude by Gabriel García Márquez
Biography – Gabriel García Márquez: A Life by Gerald Martin
Everyone assumes that the magical realism in Márquez’s work is simply the product of his vivid imagination and sheer talent. Yet, after reading the biography, you’ll discover that this masterpiece of a novel is actually… a piece of reportage. This pair of books is an incredible adventure – and yes, I am completely biased because I absolutely adore Márquez.
4. Haruki Murakami
Novel – Norwegian Wood by Haruki Murakami
Biography (or rather, an autobiographical essay) – Novelist as a Vocation by Haruki Murakami
Norwegian Wood is widely considered to be Murakami’s most realistic novel (you won’t find any talking cats or double moons here), and in his essay, the author explains why he took such a ‘realistic’ gamble. But perhaps the most intriguing part is how he dismantles the idea of ‘inspiration’ and the romantic myth of creativity, making us realise just how hard and monotonous a writer’s work truly is.
5. Stephen King
Autobiography and guidebook – On Writing: A Memoir of the Craft by Stephen King
Novel – The Shining by Stephen King
King’s guidebook might seem unassuming, but first and foremost, it is a brilliant manual on writing. Secondly, it serves as an autobiography where the author speaks without euphemisms about his childhood, his accident, and his addictions. Later on, when reading The Shining, you suddenly spot many of these elements woven into the story in a reimagined form.
6. Elena Ferrante
Autobiography – Frantumaglia: A Writer’s Journey by Elena Ferrante
Novel – My Brilliant Friend by Elena Ferrante
The writer famously conceals her identity and guards her privacy fiercely. However, in Frantumaglia, she lifts the veil of secrecy just a fraction through documents, letters, and essays. Thanks to this, we come to understand why she writes anonymously, and how her relationships with her mother and her hometown shaped her path as a writer, deeply influencing the stories in her novels.
Below, you’ll find a PDF featuring a handy checklist of the pairs mentioned above, just in case you’d like to print it out or save it as inspiration for your future reading plans. (The PDF contains only the titles, without explanations.)
Aga J. Mackiewicz
for Intensive Chapters
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