At the age of 38, Dora Carrington (1893-1932) committed suicide, unable to contemplate living without her companion, Lytton Strachey, who had died a few weeks before. The association with Lytton and his Bloomsbury friends, combined with her own modesty have tended to overshadow Carrington's contribution to modern British painting. This book aims to redress the balance by looking at the immense range of her work: portraits, landscapes, glass paintings, letter illustrations and decorative work.

In Facts and Fiction, Michael Holroyd reflects on the eccentricities of the art of writing about others. With characteristic playfulness and guilefulness, he considers the ways in which lives can be written about, with all the subtle differences of design and intention that this entails.

From Rudyard Kipling to forgetfulness, the glories of Mary Norton's Borrowers books to fellow biographers like Richard Holmes and Alexander Masters, Holroyd tackles an eclectic range of topics with wit, warmth and humour.

This is a unique insight into the mind of a master.

Eustace is undisputed patriarch of the Farquhar family. That is, he would be if everyone stopped mumbling, let him get on with his shaving and find his way downstairs. It's not Henry's fault that he snores and that his marriage has collapsed. Or that he failed to get into the cricket team. But he has made up for it and is now a faster motorist than ever he was bowler. He is a good father too and one day, when he wakes up from day-dreaming, his son Kenneth will thank him. It is good that Anne sleeps with a whistle in her mouth - how else could she terrify the burglars? As for Mathilda she would love to like her mother, but prefers going for long walks with the dog. But what will happen to them all if the dog dies? A devastating postscript follows the story. Placing this eccentric family in isolation after two world wars and at the beginning of our aggressive financial culture, it turns comedy into tragedy. This novel brings a very personal addition to the biographer's remarkable career.

'It is right that, after more than one hundred years, she should have her say' John Carey, Sunday Times

Twelve days before her twenty-fourth birthday, on the foggy morning of Saturday 12 January 1901, Ida Nettleship married Augustus John in a private ceremony at St Pancras Registry Office. The union went against the wishes of Ida's parents, who aspired to an altogether more conventional match for their eldest daughter. But Ida was in love with Augustus, a man of exceptional magnetism also studying at the Slade, and who would become one of the most famous artists of his time.

Ida's letters - to friends, to family and to Augustus - reveal a young woman of passion, intensity and wit. They tell of the scandal she brought on the Nettleship family and its consquences; of hurt and betrayal as the marriage evolved into a three-way affair when Augustus fell in love with another woman, Dorelia; of Ida's remarkable acceptance of Dorelia, their pregnancies and shared domesticity; of self-doubt, happiness and despair; and of finding the strength and courage to compromise and navigate her unorthodox marriage.

Ida is a naturally gifted writer, and it is with a candour, intimacy and social intelligence extraordinary for a woman of her period that her correspondence opens up her world. Ida John died aged just thirty of puerperal fever following the birth of her fifth son, but in these vivid, funny and sometimes devastatingly sad letters she is startlingly alive on the page.

In J. L. Carr's deeply charged poetic novel, Tom Birkin, a veteran of the Great War and a broken marriage, arrives in the remote Yorkshire village of Oxgodby where he is to restore a recently discovered medieval mural in the local church. Living in the bell tower, surrounded by the resplendent countryside of high summer, and laboring each day to uncover an anonymous painter's depiction of the apocalypse, Birkin finds that he himself has been restored to a new, and hopeful, attachment to life. But summer ends, and with the work done, Birkin must leave. Now, long after, as he reflects on the passage of time and the power of art, he finds in his memories some consolation for all that has been lost.

When Daphne du Maurier wrote this book she was only thirty years old and had already established herself both as a biographer, with the acclaimed Gerald: A Portrait, and as a novelist. The Du Mauriers was written during a vintage period of her career, between two of her best-loved novels: Jamaica Inn and Rebecca. Her aim was to write her family biography 'so that it reads like a novel' and it was due to du Maurier's remarkable imaginative gifts that she was able to breathe life into the characters and depict with affection and wit the relatives she never knew, including her grandfather, the famous Victorian artist and Punch cartoonist - and creator of Trilby. 'Miss du Maurier creates on the grand scale; she runs through the generations, giving her family unity and reality ...a rich vein of huour and satire ...observation, sympathy, courage, a sense of the romantic, are here' Observer

"Works on Paper" is a selection by one of today's leading biographers from his lectures, essays, and reviews written over the last quarter of a century--mainly on the craft of biography and autobiography, but also covering what Michael Holroyd describes as his "enthusiasms and alibis."
Opening with a startling attack on biography, which is answered by two essays on the ethics and values of non-fiction writing, the book goes on to examine the work of several contemporary biographers, the place of biography in fiction and of fiction in biography, and the revelations of some extravagant autobiographers, from Osbert Sitwell to Quentin Crisp--to which he adds some adventures of his own, in particular an important and unpublished piece The Making of GBS, a riveting story of internecine literary warfare.
The book ends with a series of satires, celebrations, apologias and polemics which throw light not only on Michael Holroyd's progress as a biographer, but also his record as an embattled campaigner in the field of present-day literary politics.

After writing the definitive biographies of Lytton Strachey and George Bernard Shaw, Michael Holroyd turned his hand to a more personal subject: his own family. The result was Basil Street Blues, published in 1999. But rather than the story being over, it was in fact only beginning. As letters from readers started to pour in, the author discovered extraordinary narratives that his own memoir had only touched on. Mosaic is Holroyd's piecing together of these remarkable stories: the murder of the fearsome headmaster of his school; the discovery that his Swedish grandmother was the mistress of the French anarchist Jacques Prevert; and a letter about the beauty of his mother that provides a clue to a decade-long affair. Funny, touching, and wry, Mosaic shows how other people's lives, however eccentric or extreme, echo our own dreams and experiences."

A "Time "Top Ten Nonfiction Book of 2011
A "Seattle Times "Best Book of 2011

On a hill above the Italian village of Ravello sits the Villa Cimbrone, a place of fantasy and make-believe. The characters who move through Michael Holroyd's "A Book of Secrets" are destined never to meet, yet the Villa Cimbrone and one man unite them all.

This elegiac work is about the quest of unearthing and recounting the stories of women always on the periphery of the respectable world--from Alice Keppel, the mistress of both the second Lord Grimthorpe and the Prince of Wales; to Eve Fairfax, a muse of Auguste Rodin; to the novelist Violet Trefusis, the lover of Vita Sackville-West.

Also on the margins is the elusive biographer, who on occasion turns an appraising eye upon himself as part of his investigations in the maze of biography.

Deemed "a prodigy among biographers" by "The New York Times Book Review," Michael Holroyd transformed biography into an art. Now he turns his keen observation, humane insight, and epic scope on an ensemble cast, a remarkable dynasty that presided over the golden age of theater.
Ellen Terry was an ethereal beauty, the child bride of a Pre-Raphaelite painter who made her the face of the age. George Bernard Shaw was so besotted by her gifts that he could not bear to meet her, lest the spell she cast from the stage be broken. Henry Irving was an ambitious, harsh-voicedmerchant's clerk, but once he painted his face and spoke the lines of Shakespeare, his stammer fell away to reveal a magnetic presence. He would become one of the greatest actor-managers in the history of the theater. Together, Terry and Irving created a powerhouse of the arts in London's Lyceum Theatre, with Bram Stoker--who would go on to write "Dracula"--as manager. Celebrities whose scandalous private lives commanded global attention, they took America by stormin wildly popular national tours.
Their all-consuming professional lives left little room for their brilliant but troubled children. Henry's boys followed their father into the theater but could not escape the shadow of his fame. Ellen's feminist daughter, Edy, founded an avant-garde theater and a largely lesbian community at her mother's country home. But it was Edy's son, the revolutionary theatrical designer Edward Gordon Craig, who possessed the most remarkable gifts and the most perplexing inability to realize them. A now forgotten modernist visionary, he collaborated with the Russian director Stanislavski on a production of "Hamlet "that forever changed the way theater was staged. Maddeningly self-absorbed, he inherited his mother's potent charm and fathered thirteen children by eight women, including a daughter with the dancer Isadora Duncan.
An epic story spanning a century of cultural change, "A Strange Eventful History "finds space for the intimate moments of daily existence as well as the bewitching fantasies played out by its subjects. Bursting with charismatic life, it is an incisive portrait of two families who defied the strictures of their time. It will be swiftly recognized as a classic.

Renowned biographer Michael Holroyd had always assumed that his own family was perfectly English, or at least perfectly ordinary. But an investigation into the Holroyd past guided by old photograph albums, crumbling documents, and his parents' wildly divergent accounts of their lives gradually yields clues to a constellation of startling events and eccentric characters: a slow decline from English nobility on one side, a dramatic Scandinavian ancestry on the other. Fires, suicides, bankruptcies, divorces, unconsummated longings, and the rumor of an Indian tea fortune permeate this wry, candid memoir, "part multiple biography, part autobiography, but principally an oblique investigation of the biographer's art" (New York Times Book Review). " A] perfect example of a memoir that entrances me." Katherine A. Powers, Boston Sunday Globe " O]ne of the few biographers] who can convey what makes ordinary as well as extraordinary mortals live in our minds." Los Angeles Times"

Eminent Victorians marked an epoch in the art of biography; it also helped to crack the old myths of high Victorianism and to usher in a new spirit by which chauvinism, hypocrisy and the stiff upper lip were debunked. In it Strachey cleverly exposes the self-seeking ambitions of Cardinal Manning and the manipulative, neurotic Florence Nightingale; and in his essays on Dr Arnold and General Gordon his quarries are not only his subjects but also the public-school system and the whole structure of nineteenth-century liberal values.

This 1997 revised and updated biography of the celebrated artist, using the mass of new material which has come to light since Holroyd's two-volume first edition in the mid 1970s, reveals the complete story of John and his circle, from one of our great biographers. John studied at the Slade with his sister Gwen before both of them went to Paris. He lived and worked at feverish speed and his drawings were astonishing for their fluid lyrical line, their vigor and spontaneity. His life became a complex tale of two cities, London and Paris, of two wives and many families. 'The age of Augustus John was dawning,' Virginia Woolf wrote of the year 1908, which saw many portraits of writers and artists and small glowing oil panels of figures in a landscape. His most striking work was done in the years before the First World War and when he died in 1961 his death was treated as a landmark signaling the end of a distant era.

Crisp describes his life with uninhibited exuberance in this classic autobiography. He came out as a gay man in 1931, when the slightest sign of homosexuality shocked public sensibilities, and he did so with provocative flamboyance, determined to spread the message that homosexuality did not exclude him or anyone else from the human race.