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The Private Life of the Diary

From Pepys to Tweets: a history of the diary as an art form by Sally Bayley

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The Synopsis

Diaries keep secrets; they harbour fantasies and fictional histories. They are substitute boyfriends, girlfriends, husband and wives and sometimes children. But in the 21st century, diary writing is on the wane. The dignified space of the private diary has been replaced by a culture of public blurting.

The Private Life of the Diary: from Pepys to Tweets will trace the death of the diary as an ancient practice. Taking its lead from the great twentieth century diarist, Virginia Woolf, the book will work backwards towards her diary ancestor, Samuel Pepys. As a diarist, Woolf instils every aspect of the genre: from personal confessions about her irritation with her servants to reports on history passing: Armistice Day, November 1918 and then the solar eclipse, June 1927.

Diaries are a form of biography; they record lives as they are lived, moment to moment. They indulge our fondness for self-dramatisation and display. On November 13, 1949, seventeen year old Sylvia Plath begins a new diary and announces her diary-personae: The Girl Who Would be God. Her diary will hold down the projects and fantasies of her expansive-ego.

In the twenty-first century, self-disclosure is big business, as the recent best- selling on-line diary of prostitute Belle de Jour indicates. Since 1999 there has been an explosion of online weblog, radio and video diaries. Young people are the most frequent users of online diaries or blogs, a clear indication that diaries, both online and off, function as workshops for building identities. Who or What am I in relation to the world? This is the basic question of the juvenile diary, coupled with the realisation that you might need to go outside yourself to find an answer. The diary or journal offers a place for that question to be explored, and this book will trace the diarist’s journey towards knowing who they are.

The Excerpt

My First Diary

When I was seven years old my mother sent me abroad, alone. I carried one small canvas bag containing a camera and a diary-notebook. My instructions were clear: ‘take as many pictures as you can and write down everything you see. Switzerland is a very beautiful country and you’ll see lots of important things. Don’t waste it on rubbish. If you run out of pages, buy another notebook. Don’t skimp and keep your handwriting nice.’ My mother’s tone was unequivocal. I was being sent to Switzerland as a reporter, a documentarian. My adventure, like my diary, was not my own. I was to bring all the big events, the sights and the sounds, back home and share them among those who were less fortunate than myself. As Pooh Bear might say, it would contain Very Important Things.

From the first, my diary was never private: it belonged to my mother, my aunt, my grandmother, my brothers and cousins. My diary was communal, already-shared, already owned; it was never my friend. I could tell it nothing awkward, embarrassing, shameful or pathetic. I could not be homesick or lonely or afraid or bored. My diary forced me to be brave and heroic; to muster more grown up than I could manage. It was asking me to be extraordinary.

As the aeroplane lurched out of Gatwick, I pulled the new diary from my bag. My aunt had chosen it, as she had chosen my pen-pal and my host. Its purple satin covered was intimidating, too special and occasional. What could I possibly experience that would deserve such a thing? How could I really write anything in it? I had to edit out anything that would ‘let me down’ as my mother would say. ‘Don’t let yourself down, Sally. Make an effort’. There was something wrong about this instruction. Surely a real diary doesn’t ask its keeper to make an effort? Isn’t the whole point of a diary that it does allow you to let yourself down; to let go of the coherent and intact story, the picture-postcard version of events? My seven-year-old self wanted to scribble in it; to draw pictures of the funny people on the plane; to cry over it when I felt homesick and lonely, as I often did over the next few weeks; to paste in all the chocolate wrappers from all the chocolate bars I was given by kind Swiss aunts and uncles; to draw rude pictures of people sounding too silly, too French. None of this was going to be satisfactory for the family album or the Show-and-Tell session at school.

Over the course of four weeks I tried to impress my diary. I saved up lots of big words and big sights and I wrote them down. I tried to make everything sound like an Asterix adventure. Everyday was filled with difficult and foreign things, but I managed all of them: the Gauls, the Britons, the Romans and the Swiss. I took them all on. I ate rabbit and duck and lots of smelly cheese. I spoke my well-rehearsed French phrases and wrote down new ones. I shook everyone’s hand. I made friends with a boy called Michel in the village fromagerie. I kissed him. I watched his parents chop cheese and sausages. I watched my hosts make raclettes and fondue and homemade pasta. I even tried reading Daisy Miller in French and I wrote that down (a lie; I read it in English). I recorded a few conversations and then checked my French spelling which took several nights with a dictionary and lots of crossing-out. Who was I trying to impress and was it really working? When I went to Berne I took lots of photographs of the bears but most of them were smudgy and misty. So I tried to draw the bears and describe them but I couldn’t draw and my Berol pen kept running out and I was too tired to ask for another one (in French). I became anxious. I had promised my mother I would write up everyday and this day of all days had been A Very Important Day. I mustn’t let it slip away. Today had been Berne, the Swiss Capital. Today had been The Berne Bears.

But what happened in between all this perfectly edifying experience? Where did the real experience go, the off-record moments when my diary-self was shut off and I was just a lonely little girl in a small Swiss village staying with a family she barely knew? I remember wandering around in a large garden full of knotted trees feeling like Mary Lennox from The Secret Garden. Where did all my secrets go? Where was the lonely and scared seven-year-old girl? The girl who knew how to ask for the loo and for directions to the bus station but could never say that she was too tired to stay up another hour and listen to boring adults talk about ‘Madame Peterman’ and her house at the top of hill.

The diary I brought home from Switzerland held none of the things I remember now: eating too much chocolate under the bedcovers at night; the terrible anxiety that I might die from eating a shot rabbit; the shame of being sick over a croissant after a long car journey up hill (mountains). And the crushing loneliness of being alone all the time with adults speaking French. There was nowhere to be myself, not even in my diary. Where was the diary I dreamed of, my best friend and confidante; the soft beautiful thing I slipped under my pillow at night?’

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The Reviews

This book has 1 review with an average rating of 5 stars.

http://www.independent.co.uk/arts-entertainment/books/reviews/the-private-life-of-the-diary-from-pepys-to-tweets-by-sally-bayley-book-review-a6935236.html

The Author

Sally Bayley is a Teaching and Research Fellow at the Rothermere American Institute, University of Oxford and a Lecturer in English at Lady Margaret Hall, Oxford. She has written widely on visual responses to literature, including a jointly-authored study of Sylvia Plath’s relationship to the visual arts: Eye Rhymes: Sylvia Plath’s Art of the Visual (OUP, 2007) and a study of Plath as a cultural icon, Representing Sylvia Plath (CUP, 2011).

In 2010 she completed a cross-media study of Emily Dickinson as a way of thinking about America’s relationship to space and place. Home on the Horizon: America’s Search for Space, from Emily Dickinson to Bob Dylan (Peter Lang, 2011) takes Dickinson as the hero for an exploration of America’s imagined relationship with ideas of home.

Sally has just completed a book of narrative non-fiction. The Private Life of the Diary: from Pepys to Tweets tells the story of the diary as a coming of age story. Beginning with teenage diarists, Sally moves through significant moments of lived experience, from the teenage years when diary writing often begins, to the years of family, professional life, old age and death. The book takes the diaries of Virginia Woolf, Samuel Pepys, Sylvia Plath and others as her starting point for a discussion of the importance of private forms of writing and self-reflection as a means of securing a personal and public identity. From Pepys to Tweets assess the loss of such an acutely private form of life-writing in an age of facebooking, blogging and tweeting.

Sally is now completing a literary memoir about growing up in an all-female charismatic household and her escape by reading.

Questions & Answers

No question, but a comment...

Thank you for your work with Chloe this year! We look forward to reading your book.

Dawn and John Fairbanks

Sally  Bayley Sally Bayley replied:

Dear Dawn and John, very many thanks for your kind note. Chloe has grown from strength to strength. I do hope that the book meets with your approval. It will be out in early Jan; the diary-writing nativity time!

With very best wishes

Sally Bayley

The Rewards

This book is now published. You can still pledge, but you won't get listed as a supporter in the back.

$15
Digital
E-book edition.
$25
Hardback
1st edition hardback and the ebook edition
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$45
Collectable
Signed 1st edition hardback and the ebook edition
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$65
Sylvia Plath Documentary
A digital copy of The Girl Who Would be God, a short film based on the diary of Sylvia Path created by Suzie Hannah, plus a signed 1st edition hardback and the ebook edition
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$95
Writing Tutorial
Many writers keep diaries as way of practicing their craft. Sally will give a one hour 1-on-1 tutorial on the art of diary writing as the starting point for finding a writing voice, plus 1st edition hardback and the ebook edition
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$125
Launch Party
Two tickets to the launch party, plus 1st edition hardback and the ebook edition
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$190
Diary Workshop
Your place at a day long writing workshop taught by Sally in Oxford, plus a 1st edition hardback and the ebook edition
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$315
Manuscript Workshop
Your place in an interactive creative writing workshop: participants will respond to the diary drafts and manuscripts of well known diarists, including Sylvia Plath, Virginia Woolf, Mary Shelley and Katherine Mansfield.The session will include some performance and voice work as a way of conjuring the sound and presence of these voices. Participants will play with the myriad of voices emerging from manuscripts, drafts and diary-notebooks, plus 1st edition hardback and the ebook edition
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$145
Inception
A 2.5 x 3.5 inch sculpture by Mikaela Liotta
Price includes postage

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$245
Books for Bones
A 8 x 2 x 5 inch sculpture by Mikaela Liotta
Price includes postage

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$290
Reads
A 1 x 13 x 7 inch sculpture by Mikaela Liotta
Price includes postage

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$1,250
Frontispiece
A dedicated page at the front of the book for your name and logo thanking you for your contribution
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  • Format: hardcover
  • ISBN: 978-1-78352-261-3
  • Format: Signed hardback
  • ISBN: 978-1-78352-261-3
  • Published: 04/2016