This chapter invites consideration of Bloomsbury as the Biography group. It details Bloomsbury’s founding and defining contributions to the “New Biography,” particularly in theoretical and creative works by Harold Nicolson, Virginia Woolf, and the most influential British biographer of the past century, Lytton Strachey. Focusing its attention most carefully on the latter two, it explores how both Woolf and Strachey, as “spiritual” writers of the modernist age (Woolf, “Modern Fiction”), understood biography as a means of revealing personality, while diverging on some essential matters. Woolf, whose initial understanding of biography as an art evolved into a more subdued description of it as (mere) craft, anticipated that this aim might be accomplished through archival assiduity over time by a succession of fact-bound biographers, each bringing a different perspective to facts, old and new. Strachey, for his part, who always considered biography an art form, thought such an aim might be accomplished in the present, using fictional means to reveal both the personality of the nominal biographical subject and the personality of the biographer. This chapter finally reads Strachey as the most important progenitor of biographical fiction.

Virgil’s is the only literary biography whose development, from the early Imperial Age to Late Antiquity and beyond, we can examine. It was largely constructed through inferences drawn from the author’s works, selected on the basis of their reception and according to the cultural characteristics of different ages of reception. The biography was adapted to school teaching, particularly in Late Antiquity and the Middle Ages, but it was also influenced by the critical interpretation of Virgil, which variously modified the image and the evaluation of the poet.

Whether in biography, the biographical novel, the memoir or various other subgenres of life writing, the writer must be responsibly committed to both truth and imagination, to both fact and fiction. Jay Parini’s chapter considers a wide range of life writing and observes the various priorities afforded to truth and imagination in the work. Whatever access to archives, testimonies and evidence life writers need, they need above all, in Parini’s phrase, ‘access to the resources of language’.