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, 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 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 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 latest episode of Biographers in Conversation, Dr James Bailey chats with Dr Gabriella Kelly-Davies about Like a Cat Loves a Bird: The Nine Lives of Muriel Spark.

Here’s what you’ll discover in this episode:

• Why James structures Spark’s life as nine partial portraits rather than a unified chronological narrative.
• How Muriel Spark’s changing appearance during sittings for Sandy Moffat’s portrait provides the biography’s perfect opening scene.
• Why James preserves Spark’s contradictions and asks open-ended questions instead of pretending to solve her.
• How extensive archival research allows James to reconstruct vivid scenes without crossing the border into fiction.
• The challenge of weaving literary criticism and human story together so that Spark’s life and novels illuminate each other.
• Why cats, cocktails, hairdresser’s receipts, contaminated pens and green gowns are far from trivial biographical details.
• How James adopts a witty, nimble style capable of accommodating the darkness, eccentricity and comedy of Spark’s life.
• Why the biography ends not with Spark’s death but with her imaginative return as a meddling authorial ghost.

In this episode of Biographers in Conversation, Dr Nigel Cameron chats with Dr Gabriella Kelly-Davies about Dr Koop: The Many Lives of the Surgeon General.

Here’s what you’ll discover in this episode:

• Why Nigel Cameron opened the narrative with a preface portraying the octogenarian Dr C. Everett Koop.
• Nigel chose the title, The Many Lives of the Surgeon General, to reflect Koop’s multidimensional roles as a paediatric surgeon, public-health crusader, policymaker and complex human being.
• How Nigel translated complex scientific and medical concepts into engaging, novelistic prose.
• How Nigel crafted a kaleidoscopic portrait by balancing Koop’s stern public persona with intimate human stories, family anecdotes and personal vulnerabilities.
• How Nigel drew on his bioethics background to frame Koop’s decisions in terms of moral conviction, public trust and the ethical dimensions of placing science above politics.

In this latest episode of Biographers in Conversation, Dr Kathryn Heyman chats with Dr Gabriella Kelly-Davies about Circle of Wonders.

Here’s what you’ll discover in this episode:

• ‘Circle of Wonders’ is a novel about a group of women who gather in the Blue Mountains to support their friend Ronnie Bloom through the final month of her life.
• ‘Circle of Wonders’ began as a memoir shortly after Kathryn’s sister and mother died in the same month during 2020.
• Ten weeks later, Kathryn decided to write the book as fictional version of the story. It is then that she found the story’s circular, lunar structure.
• Kathryn explains why the story needed multiple voices rather than one: capturing an ‘ensemble’ or ‘choral’ experience of community meant she no longer had the ethical right to tell it as memoir.
• Kathryn reflects on the ethics of writing about real people.
• Drawing on William Faulkner, Kathryn distinguishes facts from emotional truth, arguing that fiction can sometimes reach a more profoundly truthful place than memoir by freeing the writer from strict fidelity to external events.
• The book’s structure mirrors the lunar cycle, with the final breath looping back into the first sentence, reflecting Kathryn’s belief that ‘all time is now’ and every ending is also a beginning.
• Kathryn closes our conversation with advice for writers straddling memoir, biography and fiction: write the story as it arrives first, then decide on its category. She recommends British novelist Jill Dawson as a model for biographical fiction.