Biographers in Conversation

In this episode of Biographers in Conversation, Dr Mark McKenna chats with Dr Gabriella Kelly-Davies about Return to Uluru. Here’s what you’ll discover in this episode: How Mark McKenna scoured archives, museum storerooms and even household garages to uncover new evidence that challenged the official record. Why Return to Uluru focuses on the 1934 shooting of an Indigenous man at a sacred waterhole near Uluru.  How Mark treated Constable McKinnon’s memoir admission as a moral and ethical crux. Why Return to Uluru begins in the Central Australian landscape. How Mark framed the narrative as truth-telling, using the murder to invite reflection on Australia’s broader Indigenous–settler history. Why memory is unstable and partial and how people reshape past events into multiple plausible truths. Mark argues that all history and biography must be continually reinterpreted in the light of new evidence. Why Mark believes a biographer’s role is relentless questioning, never taking records at face value and always probing why, why, why behind every account.

In this episode of Biographers in Conversation, Sonia Orchard chats with Dr Gabriella Kelly-Davies about Groomed. Here’s what you’ll discover in this episode: How Sonia’s daughter approaching the age Sonia was when the abuse occurred, prompted her to reconsider the relationship and pursue justice for herself and the next generation. Why Sonia used the police investigation and court case as the memoir’s narrative spine, beginning with the question: ‘Had a crime been committed?’ How writing the unfolding legal process in real time without knowing its outcome created immediacy, uncertainty and suspense. Why Sonia interwove memoir with neuroscience, psychology, cultural history and legal research, using research as both a means of understanding and a source of emotional distance. How Sonia’s teenage diaries and adult perspective reveal competing narratives of love and abuse—and helped her reclaim her story through narrative justice. What Groomed reveals about grooming, gaslighting and coercive control, and the cultural narratives that allow child abuse to be mistaken for romance. Why Sonia’s search for accountability became a wider critique of a legal system that can retraumatise survivors while failing to provide recognition, care and communal healing. How her cancer diagnosis illuminated society’s contrasting responses to physical and emotional trauma, and why she advises trauma writers to seek support, trust their instincts and write only when ready.

In this latest episode of Biographers in Conversation, Anna Thomasson chats with Dr Gabriella Kelly-Davies about A Vast Horizon: Artists and Lovers, Freedom and War. Here’s what you’ll discover in this episode: Why Anna Thomasson chose a collective biography to reveal the chemistry and interconnected lives of nine surrealists. How a 1937 summer at the Hôtel Vaste Horizon became the book’s narrative and symbolic starting point. What photographs reveal about historical lives and why their apparent intimacy can never yield the whole truth. How letters, diaries, poems and artworks became ‘wormholes’ into her subjects’ experiences. Why Anna Thomasson preserves archival silences and honours Ady Fidelin’s right to opacity rather than speculating. How short chapters, juxtaposition and a collage of fragments sustain momentum across nine intersecting lives. Why contradictions, omissions and self-mythologising belong inside biography instead of being smoothed into certainty. Thomasson’s advice to biographers: set research boundaries, trust your instincts and accept that every life remains provisional.

In this latest episode of Biographers in Conversation, Tim Dobbyn chats with Dr Gabriella Kelly-Davies about Black, White + Colour: A Biography of Mervyn Bishop Australia's First Indigenous Professional Photographer Here’s what you’ll discover in this episode:  Mervyn Bishop joined the Sydney Morning Herald at 17, becoming Australia’s first Indigenous press photographer and, soon after, the first Indigenous journalist on a metropolitan daily newspaper. Tim Dobbyn’s family has known Mervyn since 1962; their friendship deepened over decades before evolving into a nine-year biography project, completed largely during pandemic lockdowns. Dobbyn discusses the unusual position of writing about a living, close friend, using journalistic standards, corroborating witnesses and news archives to keep the account truthful rather than reverential. Mervyn’s mother, Marjorie, was a talented amateur photographer whose influence sparked his early interest, reflecting a broader, lesser-known tradition of photography within First Nations families as a way of preserving connection. The death of Mervyn’s wife Elizabeth on the day of his first solo exhibition profoundly altered Mervyn’s life and parenting, with Dobbyn noting she had been his crucial organising force. Mervyn developed a distinctive ethical practice around photographing people in dire circumstances, using humour, empathy and consent to disarm subjects rather than exploit them. Dobbyn faced years of publishing rejection as a first-time author before Ginninderra Press took on the richly illustrated book, timed serendipitously with a State Library exhibition of Mervyn’s photographs.

In this latest episode of Biographers in Conversation, Joshua Kendall chats with Dr Gabriella Kelly-Davies about Trudeau & Doonesbury: The Cartoonist Who Turned the News into Art Here’s what you’ll discover in this episode: Why Joshua Kendall conceived of Trudeau & Doonesbury as a dual biography of the reclusive cartoonist Garry Trudeau and Doonesbury, his famous comic strip.  How Trudeau transformed his Yale campus strip Bull Tales into Doonesbury, bringing sex, drugs, rock and roll, war and political satire to newspaper comic pages, and pioneering what became known as the reported comic strip. How 200 boxes of Trudeau’s papers at Yale’s Beinecke Library enabled Joshua to reconstruct the evolution of the artist and his work. Why Trudeau described the book as unopposed rather than authorised. How Joshua gradually gained the cooperation of a famously private subject while preserving his independence as a biographer. How Joshua assessed conflicting memories against archival evidence. How Trudeau’s changing treatment of war, from the comparatively shallow Vietnam-era strips to B. D.’s amputation and post-traumatic stress after Iraq, reveals the deepening empathy and maturity of both the cartoonist and his art. The ethical decisions involved in writing about a living subject and his family. How Joshua approached the unusual challenge of concluding the biography of a living subject. Why Joshua regards biography as a distinctive form combining storytelling, history, cultural analysis and access to the inner and emotional life.