You don't know me... (Part 2)
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In my last post, I wrote about how Sarah Vaughan was an intensely private woman leading a public life, and how she kept her fans, members of the press, and even, sometimes, her own family at a distance.
Since then, I’ve been thinking about why that was and how it influences my work as her biographer. Part of my job is to tease out the details of her life, provide a glimpse into the woman behind the scenes, the private Vaughan. But what does a biographer do when her subject doesn’t cooperate? How much do I extrapolate from the information I do have? In other words, how do I read an absence? And how do I respect my subject and her desire for privacy while satisfying the desires of readers in search of an intimate portrait of a performer they admire?
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